
Glass _^ iriana 



Copyright! . 






COPYRIGHT DEPOSIT. 



•. 



SHAKESPEARE'S 

MERCHANT OF VENICE 



WITH INTRODUCTION, NOTES, AND 
EXAMINATION PAPERS 

(selected) 



BY 



BRAINERD KELLOGG, LL.D. 

Professor of the English Language and Literature in the 

Polytechnic Institute of Brooklyn, and one of the 

authors of Reed and Kellogg' 's Language Series 



NEW YORK 
MAYNARD, MERRILL, & CO., PUBLISHERS 



g«gt*t«r of Copyright* 

SHAKESPEARE'S PLAYS 



WITH NOTES 

MERCHANT OF VENICE 

KING HENRY V. 

AS YOU LIKE IT 

JULIUS CAESAR 

KING LEAR 

MACBETH 

TEMPEST 

HAMLET 

KING HENRY VIII. 

KING HENRY IV. Part I. 

KING RICHARD III. 

THE WINTER'S TALE 

TWELFTH NIGHT 

king john; \\ j \ 
! ' much ado ABOUT nothing: 

A MIDSUMMER NIGHT'S DREAM 

"\\ ' 'OTKFLLO l 'I «' 

c \< ^CORIOLANUS" \ * , 

ROMEO AND JULIET 



■ HHh 



» • « t 

• • a 

C C % I 



Copyright, 1899, 
By MAYNAKD, MERRILL, & CO. 



EDITOR'S NOTE 

The text here presented, adapted for use in mixed 
classes, has been carefully collated with that of six or 
seven of the latest and best editions. Where there was 
any disagreement those readings have been adopted 
which seemed most reasonable and were supported by 
the best authority. 

Professor Meiklejohn's exhaustive notes form the sub- 
stance of those here used ; and his plan, as set forth in 
the " General Notice" annexed, has been carried out in 
these volumes. But as these plays are intended rather 
for pupils in school and college than for ripe Shake- 
spearian scholars, we have not hesitated to prune his 
notes of whatever was thought to be too learned for our 
purpose, or on other grounds was deemed irrelevant to 
it. The notes of other English editors have been freely^ 
incorporated. 



GENEBAL NOTICE 

"An attempt has been made in these new editions to 
interpret Shakespeare by the aid of Shakespeare himself. 
The Method of Comparison has been constantly em- 
ployed ; and the language used by him in one place has 
been compared with the language used in other places in 
similar circumstances, as well as with older English and 
With newer English. The text has been as carefully 
and as thoroughly annotated as the text of any Greek or 
Latin classic. 

"The first purpose in this elaborate annotation is, of 
course, the full working out of Shakespeare's meaning. 
The Editor has in all circumstances taken as much pains 
with this as if he had been making out the difficult and 
obscure terms of a will in which he himself was per- 
sonally interested ; and he submits that this thorough 
excavation of the meaning of a really profound thinker 
is one of the very best kinds of training that a boy or 
girl can receive at school. This is to read the very mind 
of Shakespeare, and to weave his thoughts into the fibre 
of one's own mental constitution. And always new re- 
wards come to the careful reader — in the shape of new 
meanings, recognition of thoughts he had before missed, 

5 



6 GENERAL NOTICE 

of relations between the characters that had hitherto 
escaped him. For reading Shakespeare is just like ex- 
amining Nature ; there are no hollownesses, there is no 
scamped work, for Shakespeare is as patiently exact and 
as first-hand as Nature herself. 

" Besides this thorough working-oat of Shakespeare's 
meaning, advantage has been taken of the opportunity 
to teach his English — to make each play an introduction 
to the English of Shakespeare. For this purpose copi- 
ous collections of similar phrases have been gathered from 
other plays ; his idioms have been dwelt upon ; his pe- 
culiar use of words ; his style and his rhythm. Some 
teachers may consider that too many instances are given ; 
but, in teaching, as in everything else, the old French 
saying is true : Assez n'y «, s'il trop n'y a. The teacher 
need not require each pupil to give him all the instances* 
collected. If each gives one or two, it will probably be 
enough ; and, among them all, it is certain that one or 
two will stick in the memory. It is probable that, for 
those pupils who do not study either Greek or Latin, this 
close examination of every word and phrase in the text of 
Shakespeare will be the best substitute that can be found 
for the study of the ancient classics. 

" It were much to be hoped that Shakespeare should 
become more and more of a study, and that every boy 
and girl should have a thorough knowledge of at least 
one play of Shakespeare before leaving school. It would 
be one of the best lessons in human life, without the 
chance of a polluting or degrading experience. It would 



GENERAL NOTICE T 

also have the effect of bringing back into the too pale 
and formal English of modern times a large number of 
pithy and vigorous phrases which would help to develop 
as well as to reflect vigor in the characters of the readers. 
Shakespeare used the English language with more power 
than any other writer that ever lived — he made it do 
more and. say more than it had ever done ; he made it 
speak in a more original way ; and his combinations of 
words are perpetual provocations and invitations to origi- 
nality and to newness of insight." — J. M. D. Meikle- 
john, M.A., Professor of the Theory, History, and. 
Practice of Education in the University of St. Andrews^ 



SHAKESPEARE'S GRAMMAR 

Shakespeare lived at a time when the grammar and 
vocabulary of the English language were in a state of 
transition. Various points were not yet settled ; and so 
Shakespeare's grammar is not only somewhat different 
from our own but is by no means uniform in itself. In 
the Elizabethan age, "Almost any part of speech can 
be used as any other part of speech. An adverb can be 
used as a verb, ' They askance their eyes '; as a noun, 

* the backward and abysm of time ' ; or as an adjective, 
'a seldom pleasure. 1 Any noun, adjective, or intransi- 
tive verb can be used as a transitive verb. You can 
< happy ' your friend, ' malice ' or ' foot ' your enemy, or 

* fall ' an axe on his neck. An adjective can be used as 
an adverb ; and you can speak and act ' easy,' ' free,' ' ex- 
cellent ' ; or as a noun, and you can talk of ' fair ' instead 
of 'beauty,' and 'a pale' instead of 'a paleness.' Even 
the pronouns are not exempt from these metamorphoses. 
A ' he ' is used for a man, and a lady is described by a 
gentleman as ' the fairest she he has yet beheld.' In the 
second place, every variety of apparent grammatical in- 
accuracy meets us. He for fo'm, him for he ; spoke and 
took for spoken and taken ; plural nominatives with singu- 

8 



GRAMMAR AND VERSIFICATION 9 

lar verbs ; relatives omitted where they are now consid- 
ered necessary ; unnecessary antecedents inserted ; shall 
for will, should for would, would for wish; to omitted 
after I ought, inserted after I durst ; double nega- 
tives ; double comparatives ( ; more better,' etc.) and su- 
perlatives ; such followed by which, that by as, as used 
for as if; that for so that ; and lastly some verbs appar- 
ently with two nominatives, and others without any nom- 
inative at all." — Dr. Abbott's Shakesperian Grammar. 



SHAKESPEARE'S VERSIFICATION 

Shakespeare's plays are written mainly in what is 
known as blank verse; but they contain a number of 
riming, and a considerable number of prose, lines. As 
a rule, rime is much commoner in the earlier than in the 
later plays. Thus, Love's Labor's Lost contains nearly 
1100 riming lines, while (if we except the songs) Winter's 
Tale has none. The Merchant of Venice has 124. 

In speaking, we lay a stress on particular syllables ; 
this stress is called accent. When the words of a com- 
position are so arranged that the accent recurs at regular 
intervals, the composition is said to be rhythmical. In 
blank verse the lines consist usually of ten syllables, of 
which the second, fourth, sixth, eighth, and tenth are 
accented. The line consists, therefore, of five parts, 
each of which contains an unaccented, followed by an ac- 
cented syllable, as in the word " attend." Each of these 



10 VERSIFICATION 

five parts forms what is called a foot or measure ; and 
the five together form a pentameter. "Pentameter" is 
a Greek word signifying "five measures." This is the 
usual form of a line of blank verse. But a long poem 
composed entirely of such lines would be monotonous, 
and for the sake of variety several important modifica- 
tions have been introduced. 

(a) After the tenth syllable, one or two unaccented 
syllables are sometimes added ; as — 

" Me-thought \ you said I you nei I ther lend \ nor bor \ row." 

(b) In any foot the accent may be shifted from the sec- 
ond to the first syllable, provided two accented syllables 
do not come together. 

"Pluck' the | young suck' \ ing cubs' \ from the' \ she bear'." 

(c) In such words as "yesterday," "voluntary," "hon- 
esty," the syllables -day, -ta-, and -ty falling in the place 
of the accent, are, for the purposes of the verse, regarded 
as truly accented. 

" Bar's' me I the right' \ of vol'- \ un-ta' \ ry choos' \ ing.'''' 

(d) Sometimes we have a succession of accented sylla- 
bles ; this occurs with monosyllabic feet only. 

" Why, now, blow wind, swell billow, and swim bark." 

(e) Sometimes, but more rarely, two or even three 
unaccented syllables occupy the place of one ; as — 

u He says I he does, \ be-ing then | most flat\ter-ed." 



VERSIFICATION 11 

(/) Lines may have any number of feet from one to six. 

Finally, Shakespeare adds much to the pleasing variety 
of his blank verse by placing the pauses in different parts 
of the line (especially after the second or third foot), 
instead of placing them all at the ends of lines, as was 
the earlier custom. 

N.B. — In some cases the rhythm requires that what 
we usually pronounce as one syllable shall be divided 
into two, as fi-er (fire), su-er (sure), mi-el (mile), etc. ; 
too-elve (twelve), jaw-ee (joy), etc. Similarly, she-on 
(-tion or -sion). 

It is very important to give the pupil plenty of ear- 
training by means of formal scansion. This will greatly 
assist him in his reading. 



PLAN OF STUDY FOR "PERFECT 
POSSESSION" 

To attain to the standard of " Perfect Possession," the 
reader ought to have an intimate and ready knowledge 
of the subject. 

The student ought, first of all, to read the play as a 
pleasure ; then to read it over again, with his mind upon 
the characters and the plot ; and lastly, to read it for the 
meanings, grammar, etc. 

With the help of the scheme, he can easily draw up 
for himself short examination papers (1) on each scene, 
(2) on each act, (3) on the whole play. 

1. The Plot and Story of the Play. 

(a) The general plot ; 
(/>) The special incidents. 

2. The Characters : Ability to give a connected account 

of all that is done, and most of what is said by each 
character in the play. 

3. The Influence and Interplay of the Characters upon 

-each other. 

(a) Relation of A to B and of Bto A; 

(b) Relation of A to C and D. 

12 



PLAN OF STUDY 13 

4. Complete Possession of the Language. 

(a) Meanings of words ; 

(6) Use of old words, or of words in an old- 
meaning ; 

(c) Grammar ; 

(d) Ability to quote lines to illustrate a gram- 

matical point. 

5. Power to Reproduce, or Quote. 

(a) What was said by A or B on a particular 

occasion ; 
(&) What was said by A in reply to B ; 

(c) What argument was used by C at a particular 

juncture ; 

(d) To quote a line in instance of an idiom or of 

a peculiar meaning. 

6. Power to Locate. 

(a) To attribute a line or statement to a certain 

person on a certain occasion ; 
(6) To cap a line ; j 

(c) To fill in the right word or epithet. 



INTRODUCTION 



William Shakespeare. — "He was born, it is thought, 
April 23, 1564, the son of a comfortable burgess of Strat- 
ford-on-Avon. While he was still young, his father fell 
into poverty, and an interrupted education left the son an 
inferior scholar. He had ' small Latin and less Greek.' 
But by dint of genius and by living in a society in which 
all sorts of information were attainable, he became an 
accomplished man. The story told of his deer-stealing in 
Charlecote woods is without proof, but it is likely that 
his youth was wild and passionate. At nineteen, he 
married Ann Hathaway, seven years older than himself, 
and was probably unhappy with her. For this reason or 
from poverty, or from the driving of the genius that led 
him to the stage, he left Stratford about 1586-1587, and 
went to London at the age of twenty-two, and, falling in 
with Marlowe, Greene, and the rest, became an actor and 
a playwright, and may have lived their unrestrained and 
riotous life for some years. 

"His First Period. — It is probable that before leaving 
Stratford he had sketched a part at least of his Venus 
and Adonis. It is full of the country sights and sounds, 

14 



INTRODUCTION 15 

of the ways of birds and animals, such as he saw when 
wandering in Charlecote woods. Its rich and overladen 
poetry and its warm coloring made him, when it was 
published, 1591-1593, at once the favorite of men like 
Lord Southampton, and lifted him into fame. But be- 
fore that date he had done work for the stage by touch- 
ing up old plays, and writing new ones. We seem to 
trace his ' prentice hand ' in many dramas of the time, 
but the first he is usually thought to have retouched is 
Titus Andronicus, and, some time after, the First Part 
of Henry VI. 

" Love's Labor's Lost, the first of his original plays, in 
which he quizzed and excelled the Euphuists in wit, was 
followed by the rapid farce of the Comedy of Errors. Out 
of these frolics of intellect and action he passed into pure 
poetry in the Midsummer Night's Dream, and mingled 
into fantastic beauty the classic legend, the mediaeval 
fairyland, and the clownish life of the English mechanic. 
Italian story then laid its charm upon him, and the Two 
Gentlemen of Verona preceded the southern glow of pas- 
sion in Borneo and Juliet, in which he first reached tragic 
power. They complete, with Love's Labor's Won, after- 
wards recast as All's Well That Ends Well, the love plays 
of his early period. We may, perhaps, add to them the 
second act of an older play, Edward III. We should 
certainly read along with them, as belonging to the same 
passionate time, his Bape of Lucrece, a poem finally 
printed in 1594, one year later than the Venus and Adonis. 

The patriotic feeling of England, also represented in 



16 INTRODUCTION 

Marlowe and Peele, now seized on him, and he turned 
from love to begin his great series of historical plays with 
Bichard II., 1593-1594. Richard III. followed quickly. 
To introduce it and to complete the subject, he recast 
the Second and Third Parts of Henry VI. (written by 
some unknown authors), and ended his first period with 
King John ; five plays in a little more than two years. 

" His Second Period, 1596-1602. — In The Merchant of 
Venice Shakespeare reached entire mastery over his art. 
A mingled woof of tragic and comic threads is brought 
to its highest point of color when Portia and Shylock 
meet in court. Pure comedy followed in his retouch of 
the old Taming of the Shrew, and all the wit of the 
world, mixed with noble history, met next in the three 
comedies of Falstaff, the First and Second Parts of 
Henry IV., and the Merry Wives of Windsor. The his- 
torical plays were then closed with Henry V., a splendid 
dramatic song to the glory of England. 

" The Globe theatre, in which he was one of the proprie- 
tors, was built in 1599. In the comedies he wrote for it, 
Shakespeare turned to write of love again, not to touch 
its deeper passion as before, but to play with it in all 
its lighter phases. The flashing dialogue of Much Ado 
About Nothing was followed by the far-off forest world 
of As You Like It, where ' the time fleets carelessly,' 
and Rosalind's character is the play. Amid all its gra- 
cious lightness steals in a new element, and the melan- 
choly of Jaques is the first touch we have of the older 
Shakespeare who had ' gained his experience, and whose 



INTRODUCTION 17 

experience had made him sad.' And yet it was but a 
touch ; Twelfth Night shows no trace of it, though the 
play that followed, AIVs Well That Ends Well, again 
strikes a sadder note. We find this sadness fully grown 
in the later sonnets, which are said to have been finished 
about 1602. They were published in 1609. 

" Shakespeare's life changed now, and his mind changed 
with it. He had grown wealthy during this period and 
famous, and was loved by society. He was the friend of 
the Earls of Southampton and Essex, and of William 
Herbert, Lord Pembroke. The queen patronized him ; 
all the best literary society was his own. He had rescued 
his father from poverty, bought the best house in Strat- 
ford and much land, and was a man of wealth and com- 
fort. Suddenly all his life seems to have grown dark. 
His best friends fell into ruin, Essex perished on the 
scaffold, Southampton went to the Tower, Pembroke was 
banished from the Court ; he may himself, as some have 
thought, have been concerned in the rising of Essex. 
Added to this, we may conjecture, from the imaginative 
pageantry of the sonnets, that he had unwisely loved, 
and been betrayed in his love by a dear friend. Disgust 
of his profession as an actor, and public and private ill 
weighed heavily on him, and in darkness of spirit, though 
still clinging to the business of the theatre, he passed 
from comedy to write of the sterner side of the world, to 
tell the tragedy of mankind. 

" His Third Period, 1602-1608, begins with the last days 
of Queen Elizabeth. It contains all the great tragedies^. 



18 INTRODUCTION 

and opens with the fate of Hamlet, who felt, like the 
poet himself, that ' the time was out of joint. 1 Hamlet, 
the dreamer, may well represent Shakespeare as he 
stood aside from the crash that overwhelmed his friends, 
and thought on the changing world. The tragi-comedy 
of Measure for Measure was next written, and is tragic 
in thought throughout. Julius Ccesar, Othello, Macbeth, 
Lear, Troilus and Cressida (finished from an incomplete 
work of his youth), Antony and Cleopatra, Coriolanus, 
Timon (only in part his own) were all written in these 
five years. The darker sins of men, the unpitying fate 
which slowly gathers round and falls on men, the aveng- 
ing wrath of conscience, the cruelty aud punishment of 
weakness, the treachery, lust, jealousy, ingratitude, mad- 
ness of men, the follies of the great, and the fickleness 
of the mob, are all, with a thousand other varying moods 
and passions, painted, and felt as his own while he painted 
them, during this stern time. 

11 His Fourth Period, 1608-1613. — As Shakespeare wrote 
of these things, he passed out of them, and his last days 
are full of the gentle and loving calm of one who has 
known sin and sorrow and fate but has risen above them 
into peaceful victory. Like his great contemporary, 
Bacon, he left the world and his own evil time behind 
him, and with the same quiet dignity sought the inno- 
cence and stillness of country life. The country breathes 
through all the dramas of this time. The flowers Per- 
dita gathers in Winter'' s Tale, and the frolic of the sheep- 
shearing he may have seen in the Stratford meadows ; 



INTRODUCTION 19 

the song of Fidele in Cymbeline is written by one who 
already feared no more the frown of the great, nor slan- 
der nor censure rash, and was looking forward to the 
time when men should say of him — 

' Quiet consummation have ; 
And renowned be thy grave ! ' 

" Shakespeare probably left London in 1609, and lived 
in the house he had bought at Stratford-on-Avon. He 
was reconciled, it is said, to his wife, and the plays he 
writes speak of domestic peace and forgiveness. The 
story of Marina, which he left unfinished, and which two 
later writers expanded into the play of Pericles, is the 
first of his closing series of dramas. The Two Noble 
Kinsmen of Fletcher, a great part of which is now, on 
doubtful grounds, I think, attributed to Shakespeare, 
and in which the poet sought the inspiration of Chaucer, 
would belong to this period. Cymbeline, Winter's Tale, 
and the Tempest bring his history up to 1612, and in the 
next year he closed his poetic life by writing, with 
Fletcher, Henry VIII. For three years he kept silence, 
and then, on the 23d of April, 1616, the day he reached 
the age of fifty-two, as is supposed, he died. 

" His Work. — We can only guess with regard to Shake- 
speare's life ; we can only guess with regard to his charac- 
ter. It has been tried to find out what he was from his 
sonnets and from his plays, but every attempt seems to 
be a failure. We cannot lay our hand on anything and 
say for certain that it was spoken by Shakespeare out of 



20 INTRODUCTION 

his own character. The most personal thing in all his 
writings is one that has scarcely been noticed. It is the 
Epilogue to the Tempest ; and if it be, as is most proba- 
ble, the last thing he ever wrote, then its cry for forgive- 
ness, its tale of inward sorrow, only to be relieved by 
prayer, give us some dim insight into how the silence 
of those three years was passed ; while its declaration of 
his aim in writing, ' which was to please,' — the true defi- 
nition of an artist's aim, — should make us very cautious 
in our efforts to define his character from his works. 
Shakespeare made men and women whose dramatic 
action on each other, and towards a catastrophe, was 
intended to please the public, not to reveal himself. 

" No commentary on his writings, no guesses about his 
life or character, are worth much which do not rest on 
this canon as their foundation : What he did, thought, 
learned, and felt, he did, thought, learned, and felt as an 
artist. And he was never less the artist, through all the 
changes of the time. Fully influenced, as we see in 
Hamlet he was, by the graver and more philosophic cast 
of thought of the later time of Elizabeth ; passing on 
into the reign of James I., when pedantry took the 
place of gayety, and sensual the place of imaginative 
love in the drama, and artificial art the place of that 
art which itself is nature ; he preserves to the last the 
natural passion, the simple tenderness, the sweetness, 
grace, and fire of the youthful Elizabethan poetry. The 
Winter's Tale is as lovely a love story as Borneo and 
Juliet, the Tempest is more instinct with imagination 



INTRODUCTION 21 

than the Midsummer Night's Dream, and as great in 
fancy, and yet there are fully twenty years between 
them. The only change is in the increase of power, and 
in a closer and graver grasp of human nature. Around 
him the whole tone and manner of the drama altered 
for the worse as his life went on, but his work grew to 
the close in strength and beauty." — Stopford Brooke. 

ANALYSIS OF PLAY 

" The Merchant of Venice is one of the most popu- 
lar creations of the great poet, and unites within itself 
all the charms of Shakespeare's poetry. In the first 
place, let us consider the characterization. 

"Apart from the numerous other characters, which 
are as true to life as they are clearly and consistently 
developed, and which balance and set off one another 
in organic contrasts: — the noble and high-minded but 
passive and melancholy Antonio, who is little suited to 
bear the burden of an active, energetic life, and is so 
well described in the words ' a princely merchant ' ; 
his gay and sincere friend, Bassanio, who is certainly 
somewhat frivolous, but amiable and intelligent, a true 
Italian gentiluomo in the best sense of the word ; his 
comrades Lorenzo and Gratiano ; further, Portia, who 
is no less amiable than she is intellectual, and her grace- 
ful maid, Nerissa ; also Jessica, that child of nature, 
who loses herself in the enthusiasm of her Eastern pas- 
sion of love, — apart from all these firmly and accurately 
delineated characters, down to the silly Launcelot Gob bo 



22 INTRODUCTION 

and his childish old father, we have in Shylock, the Jew, 
a true masterpiece of characterization. . . . 

"As we here have the most brilliant display of Shake- 
speare's masterly skill in characterization, so his skill 
as regards the composition, the arrangement, and the 
development of the complicated substance of the action 
is no less admirable. The invention, it is true, is not 
altogether his own ; the greater part of it is taken from 
a novel of Giovanni Fiorentino's, II Pecorone (which was 
written in 1378, but not printed till 1558), and the sub- 
ject of this novel again was borrowed from the Gesta 
Bomanorum, another part of which contains the prin- 
cipal features of the story of the three caskets, which, 
however, is different in point. Still, these sources, and 
more especially the Gesta Bomanorum, which probably 
Shakespeare alone made use of, would have furnished 
the poet with but a thin skeleton which he would have 
had to clothe with flesh and blood ; besides which, he 
has freely added several characters, and increased the 
complication by the introduction of a new episode. 

"Accordingly, we here find three strange and already 
complex knots wound one into another : first, the law- 
suit between Antonio and Shylock ; then, Bassanio's 
courtship and that of the other three suitors for Portia, 
and Gratiano's for Nerissa ; lastly, Jessica's love for and 
elopement with Lorenzo. These manifold relations, 
actions, and incidents, are arranged with such great 
clearness (the one developed out of and with the other) 
that we nowhere lose the thread, that every separate 



INTROD UCTION 23 

part is harmoniously connected with the other, and that,, 
in the end, all is rounded off into an organic whole. . . . 

" We may add that Portia's fate, owing to the obstinacy 
of her deceased father, appears bound to be the decision 
of chance, and that, in contrast to this, her maid, Ne- 
rissa, voluntarily makes her own happiness dependent 
upon the fortune of her mistress ; and that, again, their 
constrained will and inclinations form a decided contrast 
to Jessica's voluntary choice, which offends both law 
and right. 

" Thus even the external arrangement of the manifold 
situations exhibits that organic contrariety from which 
life and action everywhere proceed. The one remain- 
ing question is, where is the internal unity which — 
before the tribunal of criticism — can alone justify the 
combination of such heterogeneous elements in one 
drama ? . . . 

" An actual connection, by means of the thread of inci- 
dents, is indeed clearly enough set forth, for it is owing 
to Antonio's self-sacrificing readiness to comply with his 
friend's wishes that he falls into the Jew's clutches, 
and owing to Portia's wit and inventive genius that he 
is saved ; and the courses of the two other love intrigues 
are connected with these. But this bond is obviously, 
purely external, accidental ; what, in its inner, essential 
meaning, has the unhappy lawsuit (which verges upon 
the tragic) to do with the gay, happy courtship of Bas- 
sanio and Portia ? . . . 

' ' In regard to the question as to where this unity is to 



24 INTRODUCTION 

be found, commentators disagree here more than in the 
case of most of Shakespeare's dramas. And it certainly 
does, in the present case, seem as if the multifarious 
elements of the action were of a strange and opposite 
kind of nature ; therefore we cannot feel surprised that 
some critics should doubt whether the elements are com- 
binable ; and the details also assert themselves with so 
much decision, are so free and independent, stand out 
of the picture in so full and well-rounded a manner, that 
they involuntarily rivet the eye, and, so to say, lead 
captive the mind. 

"Hence it becomes difficult to withdraw one's gaze 
from the graceful movements of the several figures, from 
the beautiful coloring and the lovely play of light and 
shade, in order to look for the invisible threads which 
run through, and hold all the several parts together. 

"In the first place, as regards the lawsuit between 
Antonio and the Jew, there can, as I think, be scarcely 
any doubt that its meaning and significance coincides 
with the old juristic proposition : Summum jus summa 
injuria [the strictest law, the greatest injustice]. . . . 
The proposition merely maintains that an acknowledged 
and positive law turns into its opposite and becomes a 
wrong when carried to the extreme point of its limited 
nature and one-sided conception, and when driven to its 
extreme consequence. 

"Shylock holds fast to the law. Forbearance, gentle- 
ness, kindliness, and all the lovely names which greet 
the happy on the threshold of life and accompany them 



INTRODUCTION 25 

on their paths, he has never known ; injustice, harsh- 
ness, and contempt stood around his cradle, hate and 
persecution obstructed every step of his career. With 
convulsive vehemence, therefore, he clutches hold of the 
law, the small morsel of justice which cannot be with- 
held even from the Jew. This legal, formal, external 
justice Shylock obviously has on his side, but by taking 
and following it to the letter, in absolute one-sidedness, 
he falls into the deepest, foulest wrong, which then 
necessarily recoils ruinously upon his own head. 

"The same view of the double-edged nature of justice, 
which is here set forth in its utmost subtility, is, how- 
ever, I think, also exhibited in manifold lights and 
shades through the other parts of the play. The deter- 
mination of Portia's father, which deprives her of all 
participation in the choice of a husband, is indeed based 
upon paternal right, but this very right — even though 
justified by the best intentions of anxious affection — is 
again, at the same time, a decided wrong. . . . Who 
would have cast a stone at her had she broken her vow 
and guided her well-beloved, amiable, and worthy lover, 
by hints and intimations, in making the right choice ? 
The wrong, which is here again contained within what 
is in itself right, would have fallen with tragic force had 
not accident — in the form of a happy thought, as in the 
case of the lawsuit — led to a happy result. 

"Jessica's flight and her marriage in opposition to her 
father's will is, according to generally recognized princi- 
ples, a flagrant wrong. And yet, who would condemn 



26 INTRODUCTION 

her for withdrawing herself from the power and rights 
of such a father, of whom she is justly ashamed, and to 
obey whom truly is a matter of impossibility to her con- 
science and to her innocent heart ? Here again, there- 
fore, we find a point of right at strife with the demands 
of morality, and asserting itself emphatically. Shake- 
speare himself brings it clearly enough forward in Act II. 
iii., and still more so in III. v., and in the conversations 
between Launcelot and Jessica. 

" The penalty which the court imposes upon the Jew, 
and by which he is compelled to sanction the marriage 
of his daughter with Lorenzo, also neutralizes the con- 
flicting elements more in an external and accidental 
manner than by true and internal adjustment. Lastly, 
right and wrong are no less carried to their extreme 
points, and consequently placed in a balancing state of 
uncertainty, in the quarrel between the two loving 
couples about the rings which they had parted with, in 
violation of their sworn promises, a scene with which 
the play closes. . . . 

"Thus we see that the meaning and significance of the 
many, apparently, heterogeneous elements are united in 
one point ; they are but variations of the same theme. 
Human life itself is conceived as a great lawsuit, and 
justice as the foundation and centre of all existence. . . . 
No doubt the end of law and justice ought to be to main- 
tain and support human life. But they do not form the 
base and centre, they do not include the full value or the 
whole truth of human existence. When conceived in so 



INTRODUCTION 27 

one-sided a manner, they, on the contrary, neutralize 
each other and all life as well ; right becomes wrong, and 
wrong right. Law and justice form, rather, but a single 
side of the whole. Their validity does not rest in and with 
themselves, but upon the higher principle of morality, 
from which they radiate but as single rays. . . . Life is 
not based upon what is right, but upon love and mercy. 
Love, with its indulgence and clemency, is the higher 
stage above what is just, and up to which man has to 
rise, because be cannot remain standing upon the stage 
of what is just. . . . 

'•' Objection has been raised against this drama, inas- 
much as it has been supposed that the scene in court, with 
its tragic seriousness, is inappropriate to the cheerful 
coloring of the whole ; that the treatment of the Jew, 
especially his being compelled to become a Christian, is 
offensive to the feelings and disturbing to the state of 
mind into which the play has thrown us — that, therefore, 
it remains a matter of doubt as to which species of drama 
this play ought to belong. But Shakespeare, as I think, 
has clearly enough intimated that he does not in any 
way consider Shylock a tragic character. . . . 

"That Shakespeare himself intended the piece to be 
regarded as a comedy is attested, not only by its being 
included among his comedies by Heminge and Condell 
(in the first part of the folio edition) , but especially by 
the fifth act in the play itself, which follows directly 
upon the trial scene. ... It not only entirely effaces 
any tragic impressions that may have been left by the 



28 INTRODUCTION 

fourth act, but all dissonances, all harsh discords, are 
resolved into the purest harmony. The gay, graceful 
dalliance of happy and genuine love puts an end to the 
sharp contrasts between right and wrong, between ap- 
pearance and reality, between the spirit and the letter ; 
they neutralize each other because they cannot exist in 
face of truth and love, which are the true anchorage of 
human life. 

" As previously, the tragic sorrow — which is a part of 
Antonio's fate — was everywhere described in the softest 
colors, and the bitterness appeared clothed in the form 
of that peaceful, gentle, submissive sadness, into which 
Antonio's melancholy resolves itself (which clearly 
enough gives us a glimmer of the happy issue), so the 
last act most distinctly gives the piece its comic stamp, 
and playfully puts a mask over its serious character. 
"We cannot but admire the artistic skill of the poet who, 
while apparently violating the rules of his art, and thus 
in danger of being accused by the multitude of failure of 
effect, nevertheless pursued his object so steadily and 
consistently, and attained it so surely. . . . 

"Moreover, The Merchant of Venice must have been 
written before 1598, as it is mentioned by Meres. Hence 
it belongs to the first decade of Shakespeare's artistic 
labors, and has, most probably, to be assigned to the 
year 1597. This is also the opinion of Chalmers and 
Drake, and with them of Tieck and others. Malone, 
who places it in 1598 without giving any reason, does 
not appear to have considered that if it had been written 



INTRODUCTION 29 

in that year it could not well have been mentioned by 
Meres. The oldest print, in two different quartos, be- 
longs to the year 1600. It is astonishing what progress 
Shakespeare had made in these few years, when we com- 
pare this play with the Two Gentlemen of Verona, or 
with The Comedy of Errors.' 1 '' — Ulrici, Shakespeare'' s 
Dramatic Art. 

CRITICAL OPINIONS 

" The Merchant of Venice is one of Shakespeare's 
most perfect works ; popular to an extraordinary degree, 
and calculated to produce the most powerful effect on the 
stage, and at the same time, a wonder of ingenuity and 
art for the reflecting critic. 

" Shy lock, the Jew, is one of the inconceivable master- 
pieces of characterization of which Shakespeare alone 
furnishes us with examples. It is easy for the poet and 
the player to exhibit a caricature of national sentiments, 
modes of speaking, and gestures. Shylock, however, is 
everything but a common Jew ; he possesses a very de- 
terminate and original individuality, and yet we perceive 
a light touch of Judaism in everything which he says or 
does. . . . 

"The melancholy and self-neglectful magnanimity of 
Antonio is affectingly sublime. Like a loyal merchant, 
he is surrounded with a whole train of noble friends. 
The contrast which this forms to the selfish cruelty of the 
usurer Shylock, was necessary to redeem the honor of 



30 INTRODUCTION 

human nature. The danger which hangs over Antonio 
till towards the conclusion of the fourth act, and which 
the imagination is almost afraid to approach, would fill 
us with too painful an anxiety, if the poet did not also 
provide for our entertainment and dissipation. This is 
particularly effected by the scenes at the country seat of 
Portia, which transport the spectator into quite another 
sphere. And yet they are closely connected by the con- 
catenation of causes and effects, with the main business : 
the preparations of Bassanio for his courtship are the 
cause of Antonio's subscribing the dangerous bond ; and 
Portia again, by nieans of the advice of her uncle, a 
celebrated councillor, effects the safety of the friend of 
her lover. 

"But the relations of the dramatic composition are 
still here admirably observed in another manner. The 
trial between Shylock and Antonio, though it proceeds 
like a real event, still remains an unheard-of and particu- 
lar case. Shakespeare has consequently associated with 
it a love intrigue not less extraordinary ; the one becomes 
natural and probable by means of the other. A rich, 
beautiful, and clever heiress, who can only be won by 
the solving of a riddle ; the locked caskets ; the foreign 
princes who come to try the adventure, — with all this 
wonderful splendor the imagination is powerfully ex- 
cited. The two scenes in which the Prince of Morocco, 
in the language of Eastern hyperbole, and the self-con- 
ceited Prince of Aragon, make their choice among the 
caskets, merely raise our curiosity and give employment 



INTRODUCTION 31 

to our wits ; in the third, where the two lovers stand 
trembling before the inevitable choice, which in one 
moment must unite or separate them forever, Shake- 
speare has lavished all the seductions of feeling, all the 
magic of poetry. We share in the rapture of Portia and 
Bassanio at the fortunate choice ; we easily conceive why 
they are fond of each other, for they are both most de- 
serving of love. 

"The judgment scene, with which the fourth act is 
occupied, is alone a perfect drama, concentrating in 
itself the interest of the whole. The knot is now untied, 
and, according to the common ideas of theatrical satisfac- 
tion, the curtain might drop. But the poet was unwill- 
ing to dismiss his audience with the gloomy impressions 
which the delivery of Antonio, accomplished with so 
much difficulty, contrary to all expectation, and the pun- 
ishment of Shylock were calculated to leave behind — he 
has therefore added the fifth act by way of a musical 
afterpiece in the piece itself. The episode of Jessica, 
the fugitive daughter of the Jew, in whom Shakespeare 
has contrived to throw a disguise of sweetness over the 
national features, and the artifice by which Portia and 
her companion are enabled to rally their newly married 
husbands, supply him with the materials. The scene 
opens with the playful prattling of two lovers in a sum- 
mer evening ; it is followed by soft music and a rapturous 
eulogy on this powerful disposer of the human mind and 
the world ; the principal characters then make their ap- 
pearance, and, after an assumed dissension, which is 



32 INTRODUCTION 

elegantly carried on, the whole ends with the most exhil- 
arating mirth. 1 ' — Schlegel, Lectures on Dramatic Art 
and Literature. 

" There is reason to conclude that the felicitous union 
of the two principal actions of this drama, that concate- 
nation of cause and effect which has formed them into a 
whole, is to be ascribed almost exclusively to the judg- 
ment and the art of Shakespeare. There is also another 
unity of equal moment, seldom found wanting, indeed, 
in any of the genuine plays of our poet, but which is par- 
ticularly observable in this, that unity of feeling which, 
in the present instance, has given a uniform but an ex- 
traordinary tone to every part of the fable. Thus the 
unparalleled nature of the trial between the Jew and 
his debtor required, in order to produce that species of 
dramatic consistency so essential to the illusion of the 
reader or spectator, that the other important incident of 
the piece should assume an equal cast of singularity ; 
the enigma, therefore, of the caskets is a most suitable 
counterpart to the savage eccentricity of the bond, and 
their skilful combination effects the probability arising 
from similitude of nature and intimacy of connection." 
— Drake. 

" The Merchant of Venice is generally esteemed the best 
of Shakespeare's comedies. This excellent play is re- 
ferred to the year 1597. In the management of the plot, 
which is sufficiently complex without the slightest confu- 
sion or incoherence, I do not conceive that it has been 
surpassed in the annals of any theatre. Yet there are 



INTRODUCTION 33 

those who still affect to speak of Shakespeare as a barba- 
rian ; and others who, giving what they think due credit 
to his genius, deny him all judgment and dramatic taste, 
A comparison of his works with those of his contempo- 
raries — and it is surely to them that we should look — 
will prove that his judgment is by no means the least of 
his rare qualities. This is not so remarkable in the mere 
construction of his fable, though the present comedy is 
absolutely perfect in that point of view, and several 
others are excellently managed, as in the general keeping 
of the characters and the choice of incidents. If Shake- 
speare is sometimes extravagant, the Marstons and Mid- 
dletons are seldom otherwise. The variety of characters 
in The Merchant of Venice, and the powerful delineation 
of those upon whom the interest chiefly depends, the 
effectiveness of many scenes in representation, the copi- 
ousness of the wit, and the beauty of the language, it 
would be superfluous to extol ; nor is it our office to 
repeat a tale so often told as the praise of Shakespeare. 
In the language there is the commencement of a meta- 
physical obscurity which soon became characteristic ; but 
it is perhaps less observable than in any later play. ' ' — 
Hallam. 

Shylock 

" In proportion as Shylock has ceased to be a popular 
bugbear, 'baited with the rabble's curse,' he becomes a 
half-favorite with the philosophical part of the audience, 
who are disposed to think that Jewish revenge is at least 



34 INTRODUCTION 

as good as Christian injuries. Shylock is a good hater, 
'a man no less sinned against than sinning.' If he car- 
ries his revenge too far, yet he has strong grounds for 
'the lodged hate he bears Antonio,' which he explains 
with equal force of eloquence and reason. 

" He seems the depositary of the vengeance of his race ; 
and, though the long habit of brooding over daily insults 
and injuries has crusted over his temper with inveterate 
misanthropy, and hardened him against the contempt of 
mankind, this adds but little to the triumphant preten- 
sions of his enemies. There is a strong, quick, and deep 
sense of justice mixed up with the gall and bitterness of 
his resentment. The constant apprehension of being 
burnt alive, plundered, banished, reviled, and trampled 
on, might be supposed to sour the most forbearing na- 
ture, and to take something from that ' milk of human 
kindness,' with which his persecutors contemplated his 
indignities. 

" The desire of revenge is almost inseparable from the 
sense of wrong ; and we can hardly help sympathizing 
with the proud spirit hid beneath his ' Jewish gaberdine,' 
stung to madness by repeated undeserved provocations, 
and laboring to throw off the load of obloquy and op- 
pression heaped upon him and all his tribe by one des- 
perate act of ' lawful ' revenge, till the ferociousness of 
the means by which he is to execute his purpose, and the 
pertinacity with which he adheres to it, turn us against 
him ; but, even at last, when disappointed of the san- 
guinary revenge with which he had glutted his hopes, and 



INTRODUCTION 35 

exposed to beggary and contempt by tbe letter of the 
law on which he had insisted with so little remorse, we 
pity him, and think him hardly dealt with by his judges. 
" In all his answers and retorts upon his adversaries, 
he has the best, not only of the argument, but of the 
question, reasoning on their own principles and practice. 
They are so far from allowing of any measure of equal 
dealing, of common justice or humanity between them- 
selves and the Jew, that even when they come to ask a 
favor of him, and Shylock reminds them that on such a 
day they spit upon him ; another, spurned him ; another, 
called him dog ; and for these courtesies they request he'll 
lend them so much money, — Antonio, his old enemy, 
instead of any acknowledgment of the shrewdness and 
justice of this remonstrance, which would have been 
preposterous in a respectable Catholic merchant in 
those times, threatens him with a repetition of the same 
treatment : — 

' I am as like to call thee so again, 
To spit on thee again, to spurn thee too.' 

"After this, the appeal to the Jew's mercy, as if there 
were any common principle of right and wrong between 
them, is the rankest hypocrisy or the blindest prejudice ; 
and the Jew's answer to one of Antonio's friends who 
asks him what his pound of forfeit flesh is good for, 
is irresistible." — Hazlitt, Characters of Shakespeare' 's 
Plays. 



36 INTRODUCTION 

Portia 

"Portia is endued with her own share of those de- 
lightful qualities which Shakespeare has lavished on 
many of his female characters ; but besides the dignity, 
the sweetness, and the tenderness which should distin- 
guish her sex generally, she is individualized by qualities 
peculiar to herself ; by her high mental powers, her 
enthusiasm of temperament, her decision of purpose, and 
her buoyancy of spirit. These are innate. She has 
other distinguishing qualities more external, and which 
are the result of the circumstances in which she is placed. 
Thus she is the heiress of a princely home and countless 
wealth ; a train of obedient pleasures have ever waited 
round her ; and from infancy she has breathed an atmos- 
phere redolent of perfume and blandishment. Accord- 
ingly, there is a commanding grace, a high-bred, airy 
elegance, a spirit of magnificence, in all that she does 
and says, as one to whom splendor had been familiar 
from her very birth. . . . 

" She is full of penetrative wisdom, and genuine 
tenderness, and lively wit ; but as she has never known 
want, or grief, or fear, or disappointment, her wisdom 
is without a touch of the sombre or the sad ; her affections 
are all mixed up with faith, hope, and joy, and her wit 
has not a particle of malevolence or causticity. . . . 

"The sudden plan which she forms for the release of 
her husband's friend, her disguise, and her deportment 
as the young and learned doctor would appear forced 



INTRODUCTION 37 

and improbable in any other woman, but in Portia are 
the simple and natural result of her character. The 
quickness with which she perceives the legal advantage 
which may be taken of the circumstances, the spirit of 
adventure with which she engages in the masquerading, 
and the decision, firmness, and intelligence with which 
she executes her generous purpose are all in perfect 
keeping, and nothing appears forced — nothing as intro- 
duced merely for theatrical effect. 

"But all the finest parts of Portia's character are 
brought to bear in the trial scene. There she shines 
forth all her divine self. Her intellectual powers, her 
elevated sense of religion, her high, honorable principles, 
her best feelings as a woman, are all displayed. She 
maintains at first a calm self-command, as one sure of 
carrying her point in the end ; yet the painful, heart- 
thrilling uncertainty in which she keeps the whole court, 
until suspense verges upon agony, is not contrived for 
effect merely, it is necessary and inevitable. She has 
two objects in view, — to deliver her husband's friend,, 
and to maintain her husband's honor by the discharge 
of his just debt, though paid out of her own wealth ten 
times over. It is evident that she would rather owe the 
safety of Antonio to anything rather than the legal 
quibble with which her cousin Bellario has armed her, 
and which she reserves as a last resource. Thus all the 
speeches addressed to Shylock in the first instance are 
either direct or indirect experiments on his temper and 
feelings. ... 



38 INTRODUCTION 

" At length the crisis arrives, for patience and woman- 
hood can endure no longer ; and when Shylock, carry- 
ing his savage bent ' to the last hour of act,' springs on 
his victim — ' A sentence ! come, prepare ! ' — then the 
smothered scorn, indignation, and disgust burst forth 
with an impetuosity which interferes with the judicial 
solemnity she had at first affected. . . . But she after- 
ward recovers her propriety, and triumphs with a cooler 
scorn and a more self-possessed exultation. . . . 

" What shall be said of the casket scene with Bassanio, 
where every line which Portia speaks is so worthy of 
herself, so full of sentiment, and beauty, and poetry, and 
passion ? Too naturally frank for disguise, too modest 
to confess her depth of love while the issue of the trial 
remains in suspense, the conflict between love and fear 
and maidenly dignity cause the most delicious confusion 
that ever tinged a woman's cheek or dropped in broken 
utterance from her lips. . . . 

"Portia's strength of intellect takes a natural tinge 
from the flush and bloom of her young and prosperous ex- 
istence, and from her fervid imagination. In the casket 
scene, she fears indeed the issue of the trial, on which 
more than her life is hazarded ; but while she trembles, 
her hope is stronger than her fear. While Bassanio is con- 
templating the caskets, she suffers herself to dwell for one 
moment on the possibility of disappointment and misery. 
. . . Then immediately follows that revulsion of feeling, 
so beautifully characteristic of the hopeful, trusting, 
mounting spirit of this noble creature. . . . 



INTRODUCTION 39 

' ' Her passionate exclamations of delight when Bas- 
sanio has fixed on the right casket are as strong as though 
she had despaired before. ' Fear and doubt she could 
repel ; — the native elasticity of her mind bore up against 
them ; yet she makes us feel that, as the sudden joy 
overpowers her almost to fainting, the disappointment 
would as certainly have killed her. . . . 

"Because Portia is endued with that enlarged com- 
prehension which looks before and after, she does not 
feel the less, but the more ; because from the height 
of her commanding intellect, she can contemplate the 
force, the tendency, the consequences of her own sen- 
timents, — because she is fully sensible of her own 
situation and the value of all she concedes, — the con- 
<«ssion is not made with less entireness and devotion 
of heart, less confidence in the truth and worth of her 
lover. . . . 

"In the last act, Shylock and his machinations being 
dismissed from our thoughts and the rest of the dramatis 
personce assembled together at Belmont, all our interest 
and all our attentions are riveted on Portia, and the con- 
clusion leaves the most delightful impression on the 
fancy. The playful equivoque of the rings, the sportive 
trick she puts on her husband, and her thorough enjoy- 
ment of the jest, which she checks just as it is proceed- 
ing beyond the bounds of propriety, show how little she 
was displeased by the sacrifice of her gift, and are all 
consistent with her bright and buoyant spirit. In con- 
clusion, when Portia invites her company to enter her 



40 INTRODUCTION 

palace to refresh themselves after their travels and talk 
over 'these events at full,' the imagination, unwilling to 
lose sight of the brilliant group, follows them in gay pro- 
cession from the lovely moonlit garden to marble halls and 
princely revels, to splendor and festive mirth, to love and 
happiness." — Mrs. Jameson, Characteristics of Women. 

Bassanio 

" Shakespeare has given emphasis to the alliance be- 
tween Antonio and Bassanio, not merely by removing 
all secondary solicitations, but by giving depth and 
definition of the contrast of their characters, and, more- 
over, by exhibiting the truth of the attachment at a time 
when that contrast was still further enhanced by the 
current of accidents. . . . 

"Bassanio has lived like a prodigal, run in debt with 
his friends, and now coolly proposes to his chief creditor 
to make a serious addition to his debt, on the speculation 
that it will give him a chance to pay all by that very 
precarious as well as undignified resort of making up 
to an heiress." We are not very seriously offended at 
this because ' ' we believe Bassanio on the same ground 
that Antonio does ; we approve of the consent of Antonio 
on the same grounds that made Bassanio think it not 
wrong to ask it. The character of an act or a proceed- 
ing founds at last on the motive ; and the motive is the 
man ; and poetrjy and romance are allowed to invent 
perfections of humanity that may yet be unattainable. 
And thus in a poetic drama we admire and sympathize 



INTRODUCTION 41 

with a debt-burdened suitor to a wealthy lady, because 
there is no moral impossibility, in the nature of things, 
of such a suit, even when the contingencies of dowry 
are recognized, being in truth unsordid — though, practi- 
cally speaking, it will usually be a fool who allows him- 
self, or herself, to think it can be otherwise. . . . 

" Soundness at heart in a recipient makes imprudence 
prudent ; and our faith is made happy when Bassanio, 
who has nothing either to give or hazard, chooses the 
casket of least promising exterior, which neither natters 
the self-glory, the noble infirmity of Morocco, of being 
an object of envy to mankind, nor appeals to the self- 
complacency that betrayed the Prince of Arragon by 
referring the chooser to the measure of his deserts, but, 
repelling rather than inviting, demands the resolution of 
self-sacrifice — ' Who chooses me must give and hazard 
all he hath.' . . . His is a spirit of that rare stamp, 
which fortunate persons even now meet with in the 
world, to conciliate good will, to attract kindness, and 
excite among those around a very rivalry of liberalities 
and good offices, and yet not to grow selfish, unsympa- 
thetic, and heartlessly incapable of conceiving, much less 
of returning, the affection it is proper to them to inspire." 
— Lloyd, Critical Essays on Shakespeare. 

Jessica and Lorenzo 

"It is observable that something of the intellectual 
brilliance of Portia is reflected on the other female 



42 INTRODUCTION 

characters of The Merchant of Venice, so as to preserve 
in the midst of contrast a certain harmony and keep- 
ing. Thus Jessica, though properly kept subordinate, is 
certainly 

4 A most beautiful Pagan — a most sweet Jew.' 

She cannot he called a sketch, or, if a sketch, she is like 
one of those dashed off in glowing colors from the rain- 
how palette of a Rubens ; she has a rich tinge of Oriental- 
ism shed over her, worthy of her Eastern origin. In any 
other play, and in any other companionship than that of 
the matchless Portia, Jessica would make a very beauti- 
ful heroine of herself. Nothing can be more poetically, 
more classically fanciful and elegant than the scenes be- 
tween her and Lorenzo, — the celebrated moonlight dia- 
logue, for instance, which we all have by heart. Every 
sentiment she utters interests us for her ; more particu- 
larly her bashful self-reproach when flying in the disguise 
of a page. . . . And the enthusiastic and generous tes- 
timony to the superior graces and accomplishments of 
Portia comes with a peculiar grace from her lips. We 
should not, however, easily pardon her for cheating her 
father with so much indifference, but for the perception 
that Shy lock values his daughter far beneath his wealth." 
— Mrs. Jameson, Characteristics of Women. 

"The love scenes in Borneo and Juliet are grand, by 
reason of the tumult and ferment of the affections turn- 
ing up the heart's root of passion, devotion, and self- 
prostration to the soul's idol ; but for the calm and full 



INTRODUCTION 43 

contentment of luxurious ease in the enjoyment of a 
blissful consummation, there is no scene like this between 
little Jessica and her Lorenzo. By the way, he is surely 
quite as amenable to the charge of 'pedantry ' as the ill- 
praised Portia [by Hazlitt] ; for he talks sentiment and 
philosophy to his little wife like a professor in a college ; 
whereas, in the hands of an inferior poet, he would have 
talked the common platitudes of the lovemaker. Lorenzo 
can, and very gracefully does, dally and sport with her in 
a contest of similes to their marriage-night, and very 
classical and pretty they are. Afterwards, turning upon 
the full glory of the Italian moonlight, he breaks into 
that angelic rapture : — 

' How sweet the moonlight sleeps upon this bank ! ' etc. 

' ' Query — somewhat ' pedantic ? that, for a lover to 
discuss the Platonic theory of the spheral motion to his 
mistress. Lorenzo is a specimen of an elegant-minded, 
happy young bridegroom, and that is one of the most en- 
viable beings under God's heaven." — Charles Cowden- 
Clarke, Shakespeare Characters. 

Nerissa and Gratiano 

"Nerissa is a fitting attendant-gentlewoman to Portia. 
She is lively, intelligent, and ever prompt to enter into 
the spirit of a plot, a disguise, or a playful equivoque,, 
with her bridegroom-husband. . . . 

" Of Madam Nerissa, however, be it rather more 



44 INTRODUCTION 

than surmised from indications given, that she is one of 
that clan who will keep her husband trotting, partly 
from legitimate and sex-honored exaction, and partly, 
perhaps, from liveliness of disposition ; and, also, because 
that he, being a good-natured fellow, will evidently spoil 
her ; and then, let us hope he may not have his head 
tattooed. 

"That husband, Gratiano, is a most delightful and 
most natural character. He is one of those useful men 
in society who will keep up the ball of mirth and good- 
humor, simply by his own mercurial temperament and 
agreeable rattle ; for he is like a babbling, woodside 
brook, seen through at once, and presenting every ripple 
of its surface to the sunbeams of good-fellowship. . . . 
And, what is better than all, if a friend be in adversity, 
Gratiano will champion him with good words and deeds, 
if not with the most sagacious counsel. 

" He would, no doubt, talk a man off his legs; and, 
therefore, Shakespeare has brought him as a relief against 
the two grave men, Antonio and Bassanio, who, being both 
anxious on account of worldly cares, resent his vivacity, 
and they are, at all events, as peevish as he is flippant 
and inconsiderate. Bassanio says of Gratiano that he 
' speaks an infinite deal of nothing ' ; that ' his reasons 
are as two grains of wheat hid in two bushels of chaff ; 
you shall seek all day ere you find them, and when you 
have them, they are not worth the search.' The best of 
all this is, that Bassanio himself advances no claim to be 
the censor of his lively companion, for, in comparison 



INTRODUCTION 45 

with him, he is dull in capacity, and the very observation 
just quoted follows one of the most agreeable and sen- 
sible speeches in the play, made by the infinite-deal-of- 
nothing Gratiano. ' ' 

Launcelot Gobbo 

" And now, for a pleasant wind-up, talk we of Master 
Launcelot ; or, Master Launcelot Gobbo ; or, good Gobbo ; 
or, good Master Launcelot Gobbo. 

' ' In the old editions, Gobbo is called a clown, and in 
character he is a sort of mongrel between the thorough- 
bred jester-clown and the cur errand-boy. The vein 
of humor that distinguishes this class of persons must 
have been popular in Shakespeare's time, since he has 
repeated the character on various occasions ; and, al- 
though it has passed away from us, yet it still possesses 
more than an obsolete interest by reason of its quaint 
idiosyncrasy. 

"Launcelot is a sort of ' arabesque' character in the 
order of humanity ; exhibiting the prevalent feature of 
likeness, with a portentous nourish of half-meaning, 
which passes for embellishment. He is a fellow who will 
scramble through the world with a ' light heart and a thin 
pair of inexpressibles.' His spare diet at the Jew's does 
not waste his humor, and conscience will scarcely sit 
heavily on him in the night-watches, since the gravest 
misdemeanor that can be laid to his charge is, that he 
runs away from a master in whose service he swears he 
is ' famished ' ; his master's character of him being : ' The 



46 INTRODUCTION 

patch is kind enough, but a huge feeder. .' Nevertheless 
he says, ' You may tell every ringer I have with my ribs.' 
And yet, with all this inducement, he sedately balances 
the question between his conscience to remain, and the 
temptation of Old Scratch to run away ; and Old Scratch 
being right, for once, carries the debate." — Charles 
Cowden-Clarke, Shakespeare Characters. 



MERCHANT OF VENICE 



friends to Antonio and Bassanio. 



PERSONS REPRESENTED 

Duke of Venice. 

Prince of Arragon, suitor to Portia. 
Prince of Morocco, suitor to Portia. 
Antonio, the Merchant of Venice. 
Bassanio, friend to Antonio. 

SOLANIO, 

Salarino, 

Gratiano, 

Salerio, 

Lorenzo, in love with Jessica. 

Shylock, a Jew. 

Tubal, a Jew, friend to Shylock. 

Launcelot Gobbo, a Clown, servant to Shylock. 

Old Gobbo, father to Launcelot. 

Leonardo, servant to Bassanio. 

Balthazar, ) , _ .. 

> servants to Portia. 
Stephano, ) 

Portia, a rich heiress. 
Nerissa, waiting-maid to Portia. 
Jessica, daughter to Shylock. 

Magnificoes of Venice, Officers of the Court of Justice, 
Gaoler, Servants to Portia, and Attendants. 

SCENE — Partly at Venice; and partly at Belmont, the 
seat of Portia, on the Continent. 



48 



THE MEKCHANT OF VENICE 

ACT I 

Scene I 

Venice. A Street 

Enter Antonio, Salarino, and Solanio 

Ant. In sooth, I know not why I am so sad ; 
It wearies me ; yon say it wearies you ; 
But how I caught it, found it, or came by it, 
What stuff 'tis made of, whereof it is born, 
I am to learn ; 

And such a want-wit sadness makes of me, 
That I have much ado to know myself. 

Salar. Your mind is tossing on the ocean ; 
There, where your argosies with portly sail, — 
Like signiors and rich burghers on the flood, 10 

Or, as it were, the pageants of the sea, — 
Do overpeer the petty traffickers, 
That curtsy to them, do them reverence, 
As they fly by them with their woven wings. 

49 



50 THE MERCHANT OF VENICE [Act 1 

Solan. Believe me, sir, had I such venture forth, 
The better part of my affections would 
Be with my hopes abroad. I should be still 
Plucking the grass, to know where sits the wind ; 
Peering in maps for ports and piers and roads ; 

20 And every object that might make me fear 
Misfortune to my ventures, out of doubt, 
Would make me sad. 

Salar. My wind, cooling my broth, 

Would blow me to an ague, when I thought 
What harm a wind too great might do at sea. 
I should not see the sandy hour-glass run 
But I should think of shallows and of flats ; 
And see my wealthy Andrew dock'd in sand, 
Vailing her high-top lower than her ribs 
To kiss her burial. Should I go to church 

30 And see the holy edifice of stone, 

And not bethink me straight of dangerous rocks, 
Which, touching but my gentle vessel's side, 
Would scatter all her spices on the stream, 
Enrobe the roaring waters with my silks, 
And, in a word, but even now worth this, 
And now worth nothing ? Shall I have the thought 
To think on this ; and shall I lack the thought 
That such a thing, bechanced, would make me sad ? 



Scene 1] THE MERCHANT OF VENICE 51 

But tell not me ; I know Antonio 

Is sad to think upon his merchandise. 40 

Ant. Believe me, no ; I thank my fortune for it 
My ventures are not in one bottom trusted, 
Nor to one place ; nor is my whole estate 
Upon the fortune of this present year : 
Therefore my merchandise makes me not sad. 

Salar. Why, then you are in love. 

Ant. Fie, fie ! 

Salar. Not in love neither ? Then let us say you are sad 
Because you are not merry : and 'twere as easy 
For you to laugh and leap and say you are merry, 
Because you are not sad. Now, by two-headed Janus, 50 
Nature hath framed strange fellows in her time : 
Some that will evermore peep through their eyes, 
And laugh, like parrots, at a bag-piper : 
And other of such vinegar aspect, 
That they'll not show their teeth in way of smile, 
Though Nestor swear the jest be laughable. 

Solan. Here comes Bassanio, your most noble kins- 
man, 
Gratiano, and Lorenzo. Fare you well ; 
We leave you now with better company. 

Salar. I would have stay'd till I had made you merry, 60 
If worthier friends had not prevented me. 



52 THE MERCHANT OF VENICE [Act I 

Ant. Your worth is very dear in my regard. 
I take it, your own business calls on you, 
And you embrace th' occasion to depart. 

Enter Bassanio, Lorenzo, and Gratiano 

Salar. Good morrow, my good lords. 
Bass. Good signiors both, when shall we laugh? 
Say, when ? 
You grow exceeding strange : must it be so ? 

Salar. We'll make our leisures to attend on yours. 

[Exeunt Salarino and Solanio. 
Lor. My lord Bassanio, since you have found An- 
tonio, 
70 We two will leave you ; but at dinner-time 
I pray you have in mind where we must meet. 
Bass. I will not fail you. 
Gra. You look not well, signior Antonio : 
You have too much respect upon the world : 
They lose it that do buy it with much care. 
Believe me, you are marvellously changed. 

Ant. I hold the world but as the world, Gratiano; 
A stage where every man must play a part, 
And mine a sad one. 

Gra. Let me play the Fool : 

80 AVith mirth and laughter let old wrinkles come ; 



Scene 1] THE MERCHANT OF VENICE 53 

And let my liver rather heat with wine 

Than my heart cool with mortifying groans. 

Why should a man whose blood is warm within 

Sit like his grandsire cut in alabaster? 

Sleep when he wakes ? and creep into the jaundice 

By being peevish ? I tell thee what, Antonio, — 

1 love thee, and it is my love that speaks ; — 

There are a sort of men whose visages 

Do cream and mantle like a standing pond ; 

And do a wilful stillness entertain, 90 

With purpose to be dress'd in an opinion 

Of wisdom, gravity, profound conceit ; 

As who should say, 1 am Sir Oracle, 

And when I ope my lips let no dog bark! 

O my Antonio, I do know of these 

That therefore only are reputed wise 

For saying nothing; who I'm very sure, 

If they should speak, would almost damn those ears 

Which, hearing them, would call their brothers fools. 

I'll tell thee more of this another time : 100 

But fish not with this melancholy bait 

For this fool-gudgeon, this opinion. 

Come, good Lorenzo : — fare ye well, a while ; 

I'll end my exhortation after dinner. 

Lor. Well, we will leave you, then, till dinner-time : 



54 THE MERCHANT OF VENICE [Act I 

I must be one of these same dumb wise men, 
For Gratiano never lets me speak. 

Gra. Well, keep me company but two years more, 
Thou shalt not know the sound of thine own tongue. 
110 Ant. Farewell : I'll grow a talker for this gear. 

Gra. Thanks, i' faith ; for silence is only commend- 
. able 
In a neat's tongue dried. 

[Exeunt Gratiano and Lorenzo. 

Ant. Is that anything now ? 

Bass. Gratiano speaks an infinite deal of nothing, 
more than any man in all Venice : his reasons are as 
two grains of wheat hid in two bushels of chaff; you 
shall seek all day ere you find them ; and, when you 
have them, they are not worth the search. 

Ant. Well ; tell me now what lady is the same 
120 To whom you swore a secret pilgrimage, 
That you to-day promised to tell me of ? 

Bass. 'Tis not unknown to you, Antonio, 
How much I have disabled mine estate, 
By something showing a more swelling port 
Than my faint means would grant continuance : 
Nor do I now make moan to be abridged 
From such a noble rate ; but my chief care 
Is to come fairly off from the great debts 



Scene 1] THE MERCHANT OF VENICE 55 

Wherein my time, something too prodigal, 

Hath left me gaged. To you, Antonio, 130 

I owe the most in money and in love ; 

And from your love I have a warranty 

To unburden all my plots and purposes, 

How to get clear of all the debts I owe. 

Ant. I pray you, good Bassanio, let me know it; 
And, if it stand, as you yourself still do, 
Within the eye of honor, be assured 
My purse, my person, my extremist means 
Lie all unlock'd to your occasions. 

Bass. In my school-days, when I had lost one shaft* 140 
I shot his fellow of the self-same flight 
The self-same way, with more advised watch 
To find the other forth ; and by adventuring both 
I oft found both : I urge this childhood proof, 
Because what follows is pure innocence. 
I owe you much ; and, like a wilful youth, 
That which I owe is lost : but if you please 
To shoot another arrow that self way 
Which you did shoot the first, I do not doubt, 
As I will watch the aim, or to find botn 150 

Or bring your latter hazard back again, 
And thankfully rest debtor for the first. 

A nt. You know me well : and herein spend but time 



56 THE MERCHANT OF VENICE [Act I 

To wind about my love with circumstance ; 

And, out of doubt, you do me now more wrong 

In making question of my uttermost 

Than if you had made waste of all I have. 

Then do but say to me what I should do, 

That in your knowledge may by me be done, 
160 And I am prest unto it : therefore speak. 
Bass. In Belmont is a lady richly left ; 

And she is fair, and, fairer than that word, 

Of wondrous virtues. Sometimes from her eyes 

I did receive fair speechless messages : 

Her name is Portia, nothing undervalued 

To Cato's daughter, Brutus' Portia. 

Nor is the wide world ignorant of her worth ; 

For the four winds blow in from every coast 

Renowned suitors : and her sunny locks 
170 Hang on her temples like a golden fleece ; 

Which makes her seat of Belmont Colchos' strand, 

And many Jasons come in quest of her. 

my Antonio ! had I but the means 
To hold a rival place with one of them, 

1 have a mind presages me such thrift, 
That I should questionless be fortunate. 

Ant Thou know'st that all my fortunes are at sea; 
Neither have I money nor commodity 



Scene 2] THE MERCHANT OF VENICE 57 

To raise a present sum : therefore go forth, 

Try what my credit can in Venice do ; 180 

That shall be rack'd, even to the uttermost, 

To furnish thee to Belmont, to fair Portia. 

Go, presently inquire, and so will I, 

Where money is ; and I no question make 

To have it of my trust or for my sake. 

[Exeunt. 

Scene II 

Belmont. A room in Portia's house 

Enter Portia and Nerissa 

Por. By my troth, Nerissa, my little body is a-weary 
of this great world. 

Ner. You would be, sweet madam, if your miseries 
were in the same abundance as your good fortunes 
are : and yet, for aught I see, they are as sick that 
surfeit with too much as they that starve with noth- 
ing. It is no small happiness, therefore, to be seated 
in the mean ; superfluity comes sooner by white hairs, 
but competency lives longer. 

Por. Good sentences, and well pronounced. 10 

Ner. They would be better, if well followed. 

Por. If to do were as easy as to know what were 



58 THE MERCHANT OF VENICE [Act I 

good to do, chapels had been churches, and poor 
men's cottages princes' palaces. It is a good divine 
that follows his own instructions : I can easier teach 
twenty what were good to be done than be one of the 
twenty to follow mine own teaching. The brain 
may devise laws for the blood ; but a hot temper 
leaps o'er a cold decree : such a hare is madness the 

20 youth, to skip o'er the meshes of good counsel the 
cripple. But this reasoning is not in the fashion to 
choose me a husband : — O me, the word choose ! I 
may neither choose whom I would nor refuse whom 
I dislike ; so is the will of a living daughter curbed 
by the will of a dead father. — Is it not hard, Nerissa, 
that I cannot choose one nor refuse none? 

Ner. Your father was ever virtuous ; and holy men 
at their death have good inspirations; therefore, the 
lottery that he hath devised in these three chests of 

30 gold, silver, and lead, (whereof who chooses his mean- 
ing chooses you,) will, no doubt, never be chosen by 
any rightly, but one who shall rightly love. But what 
warmth is there in your affection towards any of these 
princely suitors that are already come ? 

Por. I pray thee over-name them ; and as thou 
namest them I will describe them ; and, according to 
my description, level at my affection. 



Scene 2] THE MERCHANT OF VENICE 59 

Ner. First, there is the Neapolitan prince. 

Por. Ay, that's a colt, indeed, for he doth nothing 
but talk of his horse ; and he makes it a great appro- 40 
priation to his own good parts that he can shoe him 
himself. 

Ner. Then is there the County Palatine. 

Por. He doth nothing but frown ; as who should 
say, An you ivill not have me, choose; he hears merry 
tales and smiles not : I fear he will prove the weeping 
philosopher when he grows old, being so full of un- 
mannerly sadness in his youth. I had rather be mar- 
ried to a death's-head with a bone in his mouth than 
to either of these. God defend me from these two ! 50 

Ner. How say you by the French lord, Monsieur 
Le Bon ? 

Por. God made him, and therefore let him pass for 
a man. In truth, I know it is a sin to be a mocker. 
But he ! why, he hath a horse better than the Neapoli- 
tan's ; a better bad habit of frowning than the Count 
Palatine : he is every man in no man : if a throstle 
sing, he falls straight a-capering; he will fence with 
his own shadow : if I should marry him, I should 
marry twenty husbands : if he would despise me, I 60 
would forgive him ; for, if he love me to madness, 
I shall never requite him. 



60 THE MERCHANT OF VENICE [Act I 

Ner. What say you, then, to Falconbridge, the 
young baron of England? 

Por. You know I say nothing to him ; for he 
understands not me, nor I him : he hath neither 
Latin, French, nor Italian ; and you will come into 
the court and swear that I have a poor pennyworth in 
the English. He is a proper man's picture. But, 
70 alas ! who can converse with a dumb show ? How 
oddly he is suited ! I think he bought his doublet in 
Italy, his round hose in France, his bonnet in Ger- 
many, and his behavior everywhere. 

Ner. What think you of the Scottish lord, his 
neighbor ? 

Por. That he hath a neighborly charity in him ; 

. for he borrowed a box of the ear of the Englishman, 

and swore he would pay him again when he was able : 

I think the Frenchman became his surety, and sealed 

80 under for another. 

Ner. How like you the young German, the Duke of 
Saxony's nephew ? 

Por. Very vilely in the morning, when he is sober ; 
and most vilely in the afternoon, when he is drunk : 
when he is best, he is a little worse than a man ; and 
when he is worst, he is little better than a beast : 
an the worst fall that ever fell, I hope I shall make 
shift to go without him. 



Scene 2] THE MERCHANT OF VENICE 61 

Ner. If he should offer to choose, and choose the 
right casket, you should refuse to perform your 90 
father's will if you should refuse to accept him. 

Por. Therefore, for fear of the worst, I pray thee 
set a deep glass of Rhenish wine on the contrary cas- 
ket : for, if the devil be within and that tempta- 
tion without, I know he will choose it. I will do any- 
thing, Nerissa, ere I will be married to a sponge. 

Ner. You need not fear, lady, the having any of 
these lords : they have acquainted me with their 
determinations : which is, indeed, to return to their 
home and to trouble you with no more suit, unless 100 
you may be won by some other sort than your father's 
imposition, depending on the caskets. 

Por. If I live to be as old as Sibylla, I will die 
as chaste as Diana, unless I be obtained by the man- 
ner of my father's will : I am glad this parcel of 
wooers are so reasonable ; for there is not one among 
them but I dote on his very absence, and I wish them 
a fair departure. 

Ner. Do you not remember, lady, in your father's 
time, a Venetian, a scholar, and a soldier, that came 110 
hither in company of the Marquis of Montf errat ? 

Por. Yes, yes, it was Bassanio ; as I think, so was 
he called. 



62 THE MERCHANT OF VENICE [Act I 

Ner. True, madam ; he, of all the men that ever my 
foolish eyes looked upon, was the best deserving a fair 
lady. 

Par. I remember him well ; and I remember him 
worthy of thy praise. How now ! what news ? 

Enter a Servant 

Serv. The four strangers seek you, madam, to take 
120 their leave : and there is a forerunner come from a 
fifth, the Prince of Morocco; who brings word the 
prince, his master, will be here to-night. 

Por. If I could bid the fifth welcome with so good 
heart as I can bid the other four farewell, I should be 
glad of his approach : if he have the condition of a 
saint and the complexion of a devil, I had rather he 
should shrive me than wive me. 
. Come, Nerissa. Sirrah, go before. 
Whiles we shut the gate upon one wooer, another 
knocks at the door. [Exeunt. 

Scene III 

Venice. A public Place 

Enter Bassanio and Shylock 

Shy. Three thousand ducats, — well. 
Bass. Ay, sir, for three months. 



Scene 3] THE MERCHANT OF VENICE 63 

Shy. For three months, — well. 

Bass. For the which, as I told you, Antonio shall 
be bound. 

Shy. Antonio shall become bound, — well. 

Bass. May you stead me ? Will you pleasure me ? 
Shall I know your answer? 

Shy. Three thousand ducats, for three months, and 
Antonio bound. -^ 

Bass. Your answer to that. 

Shy. Antonio is a good man. 

Bass. Have you heard any imputation to the con- 
trary ? 

Shy. Ho ! no, no, no, no ; — my meaning in saying 
he is a good man is to have you understand me that 
he is sufficient : yet his means are in supposition ; he 
hath an argosy bound to Tripolis, another to the 
Indies ; I understand, moreover, upon the Rialto, he 
hath a third at Mexico, a fourth for England ; and 20 
other ventures he hath, squandered abroad. But 
ships are but boards, sailors but men : there be land- 
rats and water-rats, land-thieves and water-thieves ; I 
mean, pirates ; and then, there is the peril of waters, 
winds, and rocks. The man is, notwithstanding, suffi- 
cient ; — three thousand ducats ; — I think I may take 
his bond. 



64 THE MERCHANT OF VENICE [Act I 

Bqss. Be assured you may. 

Shy. I will be assured I may ; and, that I may be 
30 assured, I will bethink, me. May I speak with An- 
tonio? 

Bass. If it please you to dine with us. 

Shy. Yes, to smell pork; to eat of the habitation 
which your prophet, the Nazarite, conjured the devil 
into ! I will buy with you, sell with you, talk with 
you, walk with you, and so following ; but I will not 
eat with you, drink with you, nor pray with you. — 
What news on the Rial to? — Who is he comes here? 

Enter Antonio 

Bass. This is signior Antonio. 
40 Shy. [Aside.] How like a fawning publican he 
looks ! 
I hate him for he is a Christian: 
But more for that in low simplicity 
He lends out money gratis, and brings down 
The rate of usance here with us in Venice. 
. If I can catch him once upon the hip, 
I will feed fat the ancient grudge I bear him. 
He hates our sacred nation ; and he rails, 
Even there where merchants most do congregate, 
On me, my bargains, and my well-won thrift, 



Scene 3] THE MERCHANT OF VENICE 65 

Which he calls interest. Cursed be my tribe 50 

If I forgive him ! 

Bass. Shylock, do you hear ? 

Shy. I am debating of my present store : 
And, by the near guess of my memory, 
I cannot instantly raise up the gross 
Of full three thousand ducats. What of that ? 
Tubal, a wealthy Hebrew of my tribe, 
Will furnish me. But soft : how many months 
Do you desire? — [To Antonio.] Rest you fair, good 

signior : 
Your worship was the last man in our mouths. 

Ant. Shylock, albeit I neither lend nor borrow 60 

By taking nor by giving of excess, 
Yet, to supply the ripe wants of my friend, 
I'll break a custom. — \_To Bass.] Is he yet possess'd, 
How much you would ? 

Shy. Ay, ay, three thousand ducats. 

Ant. And for three months. 

Shy. I had forgot ; three months, you told me so. 
Well then, your bond; and, let me see. But hear, you : 
Methought you said you neither lend nor borrow 
Upon advantage. 

Ant. I do never use it. 

Shy. When Jacob grazed his uncle Laban's sheep — 70 



66 THE MERCHANT .OF VENICE [Act I 

This Jacob from our holy Abraham was 
(As his wise mother wrought in his behalf) 
The third possessor ; ay, he was the third — 

Ant. And what of him? did he take interest? 

Shy. No, not take interest ; not, as you would say, 
Directly interest : mark what Jacob did 
When Laban and himself were compromised, 
That all the eanlings which were streaked and pied 
Should fall as Jacob's hire. 
80 This was a way to thrive, and he was blest; 
And thrift is blessing, if men steal it not. 

Ant. This was a venture, sir, that Jacob served for ; 
A thing not in his power to bring to pass, 
But sway'd and fashion'd by the hand of Heaven. 
Was this inserted to make interest good ? 
Or is your gold and silver ewes and rams ? 

Shy. I cannot tell ; I make h) breed as fast : 
But note me, signior. 

Ant. Mark you this, Bassanio, 

The devil can cite Scripture for his purpose. 
90 An evil soul, producing holy witness, 
Is like a villain with a smiling cheek ; 
A goodly apple rotten at the heart ; 
O, what a goodly outside falsehood hath ! 

Shy. Three thousand ducats, — 'tis a good round sum. 



Scene 3] THE MERCHANT OF VENICE 67 

Three months from twelve ; then, let me see, the 
rate — 

A nt. Well, Shylock, shall we be beholding to you ? 

Shy. Signior Antonio, many a time and oft 
In the Rialto you have rated me 
About my moneys, and my usances : 

Still I have borne it with a patient shrug ; 100 

For sufferance is the badge of all our tribe : 
You call me misbeliever, cut-throat, dog, 
And spit upon my Jewish gaberdine, 
And all for use of that which is mine own. 
Well then, it now appears you need my help : 
Go to, then : you come to me, and you say, 
Shylock, we would have moneys ; you say so ; 
You, that did void your rheum upon my beard, 
And foot me, as you spurn a stranger cur 
Over your threshold ; moneys is your suit. 110 

What should I say to you ? Should I not say, 
Hath a dog money ? is it possible 
A cur can- lend three thousand ducats ? or 
Shall I bend low, and in a bondman's key, 
With 'bated breath and whispering humbleness, 
Say this, — 

Fair sir, you spit on me on Wednesday last; 
You spurn'd me such a day ; another time 



68 THE MERCHANT OF VENICE [Act I 

You calVd me dog ; and for these courtesies 
120 I'll lend you thus much moneys ? 

Ant. I am as like to call thee so again, 
To spit on thee again, to spurn thee too. 
If thou wilt lend this money, lend it not 
As to thy friends ; (for when did friendship take 
A breed of barren metal of his friend ?) 
But lend it rather to thine enemy; 
Who, if he break, thou mayst with better face 
Exact the penalty. 

Shy. Why, look you, how you storm ! 

I would be friends with you, and have your love ; 
130 Forget the shames that you have stain 'd me with ; 
Supply your present wants, and take no doit 
Of usance for my moneys, and you'll not hear 

me : 
This is kind I offer. 

Bass. This were kindness. 

Shy. This kindness will I show : 
Go with me to a notary : seal me there 
Your single bond ; and, in a merry sport, 
If you repay me not on such a day, 
In such a place, such sum or sums as are 
Express'd in the condition, let the forfeit 
140 Be nominated for an equal pound 



Scene 3] THE MERCHANT OF VENICE 69 

Of your fair flesh, to be cut off and taken 
In what part of your body pleaseth me. 

Ant. Content, in faith ; I'll seal to such a bond, 
And say there is much kindness in the Jew. ' 

Bass. You shall not seal to such a bond for me ; 
I'll rather dwell in my necessity. 

Ant. Why, fear not, man ; I will not forfeit it ; 
Within these two months, that's a month before 
This bond expires, I do expect return 
Of thrice three times the value of this bond. 150 

Shy. O Father Abram, what these Christians are, 
Whose own hard dealings teaches them suspect 
The thoughts of others ! Pray you, tell me this ; 
If he should break his day, what should I gain 
By the exaction of the forfeiture ? 
A pound of man's flesh, taken from a man, 
Is not so estimable, profitable neither, 
As flesh of muttons, beefs, or goats. I say 
To buy his favor I extend this friendship; 
If he will take it, so ; if not, adieu ; 160 

And, for my love, I pray you wrong me not. 

A nt. Yes, Shylock, I will seal unto this bond. 

Shy. Then meet me forthwith at the notary's; 
Give him direction for this merry bond, 
And I will go and purse the ducats straight ; 



70 THE MERCHANT OF VENICE [Act I 

See to my house, left in the fearful guard 

Of an unthrifty knave ; and presently 

I will be with you. [Exit. 

Ant. Hie thee, gentle Jew. 

This Hebrew will turn Christian ; he grows kind. 
170 Bass. I like not fair terms and a villain's mind. 
Ant. Come on; in this there can be no dismay, 
My ships come home a month before the day. 

[Exeunt. 



72 THE MERCHANT OF VENICE [Act II 



act n 

Scene I 

Belmont. A Room in Portia's House 

Flourish of Cornets. Enter the Prince of Morocco, 
and his Train ; Portia, Nerissa, and others attend- 
ing 

Mor. Mislike me not for my complexion, 
The shadow'd livery of the burnish'd sun, 
To whom I am a neighbor, and near bred. 
Bring me the fairest creature northward born, 
Where Phcebus' fire scarce thaws the icicles, 
And let us make incision for your love, 
To prove whose blood is reddest, his or mine. 
I tell thee, lady, this aspect of mine 
Hath fear'd the valiant ; by my love, I swear 
10 The best-regarded virgins of our clime 

Have loved it too : I would not change this hue, 
Except to steal your thoughts, my gentle queen. 



Scene 1] THE MERCHANT OF VENICE 73 

Por. In terms of choice I am not solely led 
By nice direction of a maiden's eyes : 
Besides, the lottery of my destiny 
Bars me the right of voluntary choosing : 
But, if my father had not scanted me, 
And hedged me by his will to yield myself 
His wife who wins me by that means I told you, 
Yourself, renowned prince, then stood as fair 20 

As any comer I have look'd on yet, 
For my affection. 

Mor. Even for that I thank you ; 

Therefore, I pray you, lead me to the caskets 
To try my fortune. By this scimitar, — 
That slew the Sophy, and a Persian Prince 
That won three fields of Sultan Solyman, — 
I would outstare the sternest eyes that look, 
Outbrave the heart most daring on the earth, 
Pluck the young sucking cubs from the she-bear, 
Yea, mock the lion when he roars for prey, £0 

To win thee, lady. But, alas the while ! 
If Hercules and Lichas play at dice 
Which is the better man, the greater throw 
May turn by fortune from the weaker hand : 
So is Alcides beaten by his page ; 
And so may I, blind fortune leading me, 



74 THE MERCHANT OF VENICE [Act II 

Miss that which one unworthier may attain, 
And die with grieving. 

For. You must take your chance ; 

And either not attempt to choose at all, 
40 Or, swear before you choose, — if you choose wrong, 
Never to speak to lady afterward 
In way of marriage ; therefore be advised. 

Mor. Nor will not ; come, bring me unto my chance. 

Por. First, forward to the temple ; after dinner 
Your hazard shall be made. 

Mor. Good fortune then ! 

To make me blest or cursed'st among men. 

[Cornets. Exeunt. 



Scene II 

Venice. A Street 

Enter Launcelot Gobbo 

Laun. Certainly my conscience will serve me to 
run from this Jew, my master. The fiend is at mine 
elbow, and tempts me ; saying to me, — Gobbo, Launce- 
lot Gobbo, good Launcelot, or good Gobbo, or good 
Launcelot Gobbo, use your legs, take the start, run away : 
— My conscience says, No ; take heed, honest Launcelot ; 



Scene 2] THE MERCHANT OF VENICE 75 

take heed, honest Gobbo ; or (as aforesaid) honest 
Launcelot Gobbo; do not run: scorn running with thy 
heels. Well, the most courageous fiend bids me pack. 
Via ! says the fiend ; away ! says the fiend, for the 10 
heavens ; rouse up a brave mind, says the fiend, and run. 
Well, my conscience, hanging about the neck of my 
heart, says very wisely to me, My honest friend Launce- 
lot, being an honest man's son, or rather an honest 
woman's son ; for, indeed, my father did something 
smack, something grow to, he had a kind of taste; — 
well, my conscience says, Launcelot, budge not. Budge, 
says the fiend. Budge not, says my conscience. Con- 
science, say I, you counsel well ; fiend, say I, you counsel 
well : to be ruled by my conscience I should stay with 20 
the Jew my master, who (God bless the mark !) is a 
kind of devil ; and, to run away from the Jew I should 
be ruled by the fiend, who, saving your reverence, is 
the devil himself. Certainly, the Jew is the very devil 
incarnation : and in my conscience, my conscience is 
but a kind of hard conscience, to offer to counsel me 
to stay with the Jew. The fiend gives the more 
friendly counsel: I will run, fiend; my heels are at 
your commandment, I will run. 



76 THE MERCHANT OF VENICE [Act II 

Enter Old Gobbo with a basket 

30 Gob. Master young man, you, I pray you ; which is 
the way to Master Jew's? 

Laun. \_Aside.~] O heavens, this is my true-begotten 
father ! who, being more than sand-blind, high-gravel 
blind, knows me not : I will try confusions with 
him. 

Gob. Master young gentleman, I pray you, which 
is the way to Master Jew's ? 

Laun. Turn up on your right hand at the next 
turning, but, at the next turning of all, on your left ; 
40 marry, at the very next turning, turn of no hand, but 
turn down indirectly to the Jew's house. 

Gob. By God's sonties, 'twill be a hard way to hit. 
Can you tell me whether one Launcelot, that dwells 
with him, dwell with him or no? 

Laun. Talk you of young Master Launcelot? — 
[aside'] — Mark me now — now will I raise the waters. 
— Talk you of young Master Launcelot? 

Gob. N"o master, sir, but a poor man's son : his 
father, though I say it, is an honest exceeding poor 
50 man, and, God be thanked, well to live. 

Laun. Well, let his father be what 'a will, we talk 
of young Master Launcelot. 



Scene 2] THE MERCHANT OF VENICE 11 

Gob. Your worship's friend and Launcelot, sir. 

Laun. But I pray you, ergo, old man, ergo, I beseech 
you, talk you of young Master Launcelot ? 

Gob. Of Launcelot, an't please your mastership. 

Laun. Ergo, Master Launcelot ; talk not of Master 
Launcelot, father ; for the young gentleman (accord- 
ing to fates and destinies, and such odd sayings, the 
sisters three, and such branches of learning), is, in- 60 
deed, deceased ; or, as you would say in plain terms, 
gone to heaven. 

Gob. Marry, God forbid ! the boy was the very staff 
of my age, my very prop. 

Laun. [Aside.] Do I look like a cudgel, or a 
hovel-post, a staff, or a prop? — Do you know me, 
father ? 

Gob. Alack the day, I know you not, young gentle- 
man : but, I pray you, tell me, is my boy (God rest 
his soul !) alive or dead ? 70 

Laun. Do you not know me, father? 

Gob. Alack, sir, I am sand-blind, I know you 
not. 

Laun. Nay, indeed, if you had your eyes you might 
fail of the knowing me : it is a wise father that knows 
his own child. Well, old man, I will tell you news 
of your son : give me your blessing : truth will come 



78 THE MERCHANT OF VENICE [Act II 

to light; murder cannot be hid long; a man's son 
may; but, in the end, truth will out. 
80 Gob. Pray you, sir, stand up ; I am sure you are 
not Launcelot, my boy. 

Laun. Pray you, let's have no more fooling about 
it, but give me your blessing ; I am Launcelot, your 
boy that was, your son that is, your child that shall 
be. 

Gob. I cannot think you are my son. 

Laun. I know not what I shall think of that : but 
I am Launcelot, the Jew's man ; and I am sure Mar- 
gery, your wife, is my mother. 
90 Gob. Her name is Margery, indeed : I'll be sworn, 
if thou be Launcelot, thou art mine own flesh and 
blood. Lord worshipped might he be ! what a beard 
hast thou got ! thou hast got more hair on thy chin 
than Dobbin my fill-horse has on his tail. 

Laun. It should seem then that Dobbin's tail 
grows backward; I am sure he had more hair of 
his tail than I have of my face, when I last saw 
him. 

Gob. Lord, how art thou changed ! How dost thou 
100 and thy master agree ? I have brought him a pres- 
ent. How 'gree you now? 

Laun. Well, well; but for mine own part, as I 



Scene 2] THE MERCHANT OF VENICE 79 

have set up my rest to run away, so I will not rest 
till I have run some ground. My master's a very 
Jew. Give him a present ! give him a halter : I am 
famished in his service ; you may tell every finger 
I have with my ribs. Father, I am glad you are 
come : give me your present to one Master Bassanio, 
who, indeed, gives rare new liveries ; if I serve not 
him, I will run as far as God has any ground. — O 110 
rare fortune ! here comes the man ; — to him, father ; 
for I am a Jew if I serve the Jew any longer. 

Enter Bassanio with Leonardo and other Followers 

Bass. You may do so : — but let it be so hasted 
that supper be ready at the farthest by five of the 
clock. See these letters delivered; put the liveries 
to making ; and desire Gratiano to come anon to my 
lodging. [Exit a Servant. 

Laun. To him, father. 

Gob. God bless your worship ! 

Bass. Gramercy ! Wouldst thou aught with me ? 120 

Gob. Here's my son, sir, a poor boy, — 

Laun. Not a poor boy, sir, but the rich Jew's man ; 
that would, sir, as my father shall specify, — 

Gob. He hath a great infection, sir, as one would 
say, to serve, — 



80 THE MERCHANT OF VENICE [Act II 

Laun. Indeed, the short and the long is, I serve 
the Jew, and have a desire, as my father shall 
specify, — 

Gob. His master and he (saving your worship's 
130 reverence) are scarce cater-cousins : — 

Laun. To be brief, the very truth is, that the Jew, 
having done me wrong, doth cause me, as my father, 
being I hope an old man, shall frutify unto you, — 

Gob. I have here a dish of doves, that I would 
bestow upon your worship ; and my suit is, — 

Laun. In very brief, the suit is impertinent to my- 
self, as your worship shall know by this honest old 
man ; and, though I say it, though old man, yet poor 
man, my father. 
140 Bass. One speak for both : — what would you? 

Laun. Serve you, sir. 

Gob. That is the very defect of the matter, sir. 

Bass. I know thee well, thou hast obtain'd thy suit : 
Shylock, thy master, spoke with me this day, 
And hath preferr'd thee ; if it be preferment 
To leave a rich Jew's service to become 
The follower of so poor a gentleman. 

Laun. The old proverb is very well parted between 
my master Shylock and you, sir ; you have the grace 
150 of God, sir, and he hath enough. 



Scene 2] THE MERCHANT OF VENICE 81 

Bass. Thou speak'st it well. Go, father, with thy 
son: — 
Take leave of thy old master, and inquire 
My lodging out : — [to his Followers] give him a 

livery 
More guarded than his fellows' : see it done. 

Laun. Father, in: — I cannot get a service, no! — 
I have ne'er a tongue in my head ! — Well [looking 
on his palm] ; if any man in Italy have a fairer table 
which doth offer to swear upon a book I shall have 
good fortune ! Go to, here's a simple line of life ! 
here's a small trifle of wives : alas, fifteen wives is 160 
nothing ; and then, to 'scape drowning thrice ; and 
to be in peril of my life with the edge of a feather- 
bed ; here are simple 'scapes ! Well, if fortune be a 
woman, she's a good wench for this gear. — Father, 
come. I'll take my leave of the Jew in the twinkling 
of an eye. [Exeunt Launcelot and Old Gobbo. 

Bass. I pray thee, good Leonardo, think on this ; 
These things being bought, and orderly bestow'd, 
Return in haste, for I do feast to-night 
My best-esteem'd acquaintance : hie thee, go. 170 

Leon. My best endeavors shall be done herein. 



82 THE MERCHANT OF VENICE [Act II 

Enter Gratiano 

Gra. Where's your master? 

Leon. Yonder, sir, he walks. 

[Exit. 

Gra. Signior Bassanio, — 

Bass. Gratiano ! 

Gra. I have a suit to you. 

Bass. You have obtain'd it. 

Gra. You must not deny me : I must go with you 
to Belmont. 

Bass. Why, then you must. — But hear thee, Grati- 
ano; 
Thou art too wild, too rude and bold of voice ; 
Parts that become thee happily enough, 
180 And in such eyes as ours appear not faults ; 

But where thou art not known, why, there they show 

Something too liberal : — pray thee take pain 

To allay with some cold drops of modesty 

Thy skipping spirit ; lest, through thy wild behavior, 

I be misconstrued in the place I go to, 

And lose my hopes. 

Gra. Signior Bassanio, hear me : 

If I do not put on a sober habit, 
Talk with respect, and swear but now and then, 



Scene 3] THE MERCHANT OF VENICE 83 

Wear prayer-books in my pocket, look demurely ; 

Nay more, while grace is saying, hood mine eyes 190 

Thus with my hat, and sigh and say amen; 

Use all the observance of civility, 

Like one well studied in a sad ostent 

To please his grandam, — never trust me more. 

Bass. Well, we shall see your bearing. 

Gra. Nay, but I bar to-night ; you shall not gage me 
By what we do to-night. 

Bass. No, that were pity ; 

I would entreat you rather to put on 
Your boldest suit of mirth, for we have friends 
That purpose merriment. But fare you well, 200 

I have some business. 

Gra. And I must to Lorenzo and the rest ; 
But we will visit you at supper-time. [Exeunt. 



Scene III 

Venice. A Room in Shi/lock's House 

Enter Jessica and Launcelot 

Jes. I am sorry thou wilt leave my father so ; 
Our house is hell, and thou, a merry devil, 
Didst rob it of some taste of tediousness. 



84 THE MERCHANT OF VENICE [Act II 

But fare thee well : there is a ducat for thee. 

And, Launcelot, soon at supper shalt thou see 

Lorenzo, who is thy new master's guest : 

Give him this letter ; do it secretly, 

And so farewell ; I would not have my father 

See me in talk with thee. 

10 Laun. Adieu ! — tears exhibit my tongue. Most 

beautiful pagan, — most sweet Jew ! These foolish 

drops do somewhat drown my manly spirit : adieu ! 

[Exit. 
Jes. Farewell, good Launcelot. 

Alack, what heinous sin is it in me 

To be ashamed to be my father's child ! 

But, though I am a daughter to his blood, 

I am not to his manners : O Lorenzo, 

If thou keep promise, I shall end this strife ; 

Become a Christian and thy loving wife. 

[Exit. 

Scene IV 

Venice. A Street 

Enter Gratiano, Lorenzo, Salarino, and Solanio 

Lor. Nay, we will slink away in supper-time, 
Disguise us at my lodging, and return 
All in an hour. 



Scene 4] THE MERCHANT OF VENICE 85 

Gra. We have not made good preparation. 

Salar. "We have not spoke us yet of torchbearers. 

Solan. 'Tis vile unless it may be quaintly order'd ; 
And better, in my mind, not undertook. 

Lor. 'Tis now but four o'clock ; we have two 
hours 
To furnish us. — 

Enter Launcelot with a letter 

Friend Launcelot, what's the news ? 

Laun. An it shall please you to break up this, it 10 
shall seem to signify. 

Lor. I know the hand : in faith, 'tis a fair hand ; 
And whiter than the paper it writ on 
Is the fair hand that writ. 

Gra. Love-news, in faith. 

Laun. By your leave, sir. 

Lor. Whither goest thou ? 

Laun. Marry, sir, to bid my old master the Jew to 
sup to-night with my new master the Christian. 

Lor. Hold here, take this : — tell gentle Jessica, 
I will not fail her ; speak it privately ; go. [Exit Laun. 20 
Gentlemen, 

Will you prepare you for this masque to-night ? 
I am provided of a torchbearer. 



86 THE MERCHANT OF VENICE [Act II 

Salar. Ay, marry, I'll be gone about it straight, 

Solan. And so will I. 

Lor. Meet me and Gratiano 

At Gratiano's lodging some hour hence. 

Salar. 'Tis good we do so. 

[Exeunt Salarino and Solanio. 

Gra. Was not that letter from fair Jessica ? 

Lor. I must needs tell thee all. She hath directed 
30 How I shall take her from her father's house ; 
What gold and jewels she is furnish'd with ; 
What page's suit she hath in readiness. 
If e'er the Jew her father come to heaven, 
It will be for his gentle daughter's sake : 
And never dare misfortune cross her foot, 
Unless she do it under this excuse, — 
That she is issue to a faithless Jew. 
Come, go with me ; peruse this as thou goest : 
Fair Jessica shall be my torchbearer. 

[Exeunt. 



Scene 5] THE MERCHANT OF VENICE 87 

Scene V 

Venice. Before Shylock's House 

Enter Shylock and Launcelot 

Shy. Well, thou shalt see, thy eyes shall be thy 
judge, 
The difference of old Shylock and Bassanio : 
What, Jessica ! — thou shalt not gormandize, 
As thou hast done with me ; — What, Jessica ! — 
And sleep and snore and rend apparel out ; — 
Why, Jessica, I say ! 

Laun. Why, Jessica ! 

Shy. Who bids thee call ? I do not bid thee call. 

Laun. Your worship was wont to tell me I could do 
nothing without bidding. 

Enter Jessica 

Jes. Call you ? What is your will ? 10 

Shy. I am bid forth to supper, Jessica ; 
There are my keys : — but wherefore should I go ? 
I am not bid for love .; they flatter me : 
But yet I'll go in hate to feed upon 
The prodigal Christian. — Jessica, my girl, 
Look to my house. — I am right loth to go ; 



88 THE MERCHANT OF VENICE [Act II 

There is some ill a-brewing towards my rest, 
For I did dream of money-bags to-night. 

Laun. I beseech you, sir, go ; my young master 
20 doth expect your reproach. 

Shy. So do I his. 

Laun. And they have conspired together, — I will 
not say you shall see a masque ; but if you do, then it 
was not for nothing that my nose fell a-bleeding on 
Black-Monday last, at six o'clock i' the morning, 
falling out that year on Ash- Wednesday was four 
year in the afternoon. 

Shy. What ! are there masques ? Hear you me, 
Jessica : 
Lock up my doors ; and, when you hear the drum 
30 And the vile squealing of the wry-neck'd rife, 
Clamber not you up to the casements then, 
Nor thrust your head into the public street 
To gaze on Christian fools with varnish'd faces : 
But stop my house's ears, I mean my casements ; 
Let not the sound of shallow foppery enter 
My sober house. — By Jacob's staff I swear 
I have no mind of feasting forth to-night : 
But 1 will go. — Go you before me, sirrah ; 
Say I will come. 

Laun. I will go before, sir. — 



Scene 5] THE MERCHANT OF VENICE 89 

Mistress, look out at window, for all this ; 40 

There will come a Christian by, 

Will be worth a Jewess' eye. [Exit. 

Shy. What says that fool of Hagar's offspring ; ha ? 

Jes. His words were Farewell, mistress ; nothing 
else. 

Shy. The patch is kind enough ; but a huge 
feeder, 
Snail-slow in profit, and he sleeps by day 
More than the wild cat : drones hive not with me, 
Therefore I part with him ; and part with him 
To one that I would have him help to waste 
His borrow'd purse. — Well, Jessica, go in ; 50 

Perhaps I will return immediately ; 
Do as I bid you, 

Shut doors after you : Fast bind, fast find ; 
A proverb never stale in thrifty mind. [Exit. 

Jes. Farewell ; and if my fortune be not cross'd, 
I have a father, you a daughter, lost. [Exit. 

Enter Gratiano and Salarino, masqued 

Gra. This is the pent-house, under which Lorenzo 
Desired us to make stand. 

Salar. His hour is almost past. 



90 THE MERCHANT OF VENICE [Act II 

Gra. And it is marvel he out-dwells his hour, 

60 For lovers ever run before the clock. 

Salar. O, ten times faster Venus' pigeons fly 
To seal love's bonds new made, than they are wont 
To keep obliged faith unforfeited ! 

Gra. That ever holds : who riseth from a feast 
With that keen appetite that he sits down ? 
Where is the horse that doth untread again 
His tedious measures with the unbated fire 
That he did pace them first ? All things that are, 
Are with more spirit chased than enjoy'd. 

70 How like a younker or a prodigal 

The scarfed bark puts from her native bay, 
Hugg'd and embraced by the wanton wind ! 
How like a prodigal doth she return ; 
With over-weather'd ribs, and ragged sails, 
Lean, rent, and beggar'd by the wanton wind ! 

Enter Lorenzo 

Salar. Here comes Lorenzo ; — more of this here- 
after. 
Lor. Sweet friends, your patience for my long 
abode : 
Not I, but my affairs, have made you wait : 
When you. shall please to play the thieves for wives, 



Scene 5] THE MERCHANT OF VENICE 91 

I'll watch as long for you then. — Approach ; 80 

Here dwells my father Jew. — Ho ! who's within? 

Enter Jessica, above, in boy's clothes 

Jes. Who are you ? Tell me, for more certainty, 
Albeit I'll swear that I do know your tongue. 

Lor. Lorenzo, and thy love. 

Jes. Lorenzo, certain ; and my love, indeed ; 
For who love I so much? and now who knows 
But you, Lorenzo, whether I am yours? 

Lor. Heaven and thy thoughts are witness that 
thou art. 

Jes. Here, catch this casket; it is worth the pains. 
I am glad 'tis night, you do not look on me, 90 

For I am much ashamed of my exchange : 
Bat love is blind, and lovers cannot see 
The pretty follies that themselves commit ; 
For if they could, Cupid himself would blush 
To see me thus transformed to a boy. 

Lor. Descend, for you must be my torchbearer. 

Jes. What, must I hold a candle to my shames ? 
They in themselves, good sooth, are too too light. 
Why, 'tis an office of discovery, love ; 
And I should be obscured. 

Lor. So you are, sweet, 100 



92' THE MERCHANT OF VENICE [Act II 

Even in the lovely garnish of a boy. 
But come at once ; 

For the close night doth play the runaway, 
And we are stay'd for at Bassanio's feast. 

Jes. I will make fast the doors, and gild myself 
With some more ducats, and be with you straight. 

[Exit from above. 

Gra. Now, by my hood, a Gentile and no Jew. 

Lor. Beshrew me, but I love her heartily : 
For she is wise, if I can judge of her; 
110 And fair she is, if that mine eyes be true ; 
And true she is, as she hath proved herself ; 
And therefore, like herself, wise, fair, and true, 
Shall she be placed in my constant soul. 

Enter Jessica, below 

What, art thou come ? — On, gentlemen, away ; 
Our masquing mates by this time for us stay. 

[Exit, with Jessica and Salarino. 

Enter Antonio 

Ant. Who's there? 
Gra. Signior Antonio? 

Ant. Fie, fie, Gratiano ! where are all the rest? 
'Tis nine o'clock : our friends all stay for you : 
120 No masque to-night ; the wind is come about ; 



Scene 6] THE MERCHANT OF VENICE 93 

Bassanio presently will go aboard : 
I have sent twenty out to seek for you. 

Gra. I am glad on't; I desire no more delight 
Than to be under sail and gone to-night. [Exeunt. 



Scene VI 

Belmont. A Room in Portia's House 

Flourish of Cornets. Enter Portia, with the Prince 
of Morocco, and both their Trains 

Por. Go, draw aside the curtains, and discover 
The several caskets to this noble prince : — 
Now make your choice. 

Mor. The first, of gold, who this inscription bears : 

Who chooseth me shall gain what many men desire. 
The second, silver, which this promise carries : 

Who chooseth me shall get as much as he deserves. 
This third, dull lead, with warning all as blunt : 

Who chooseth me must give and hazard all he hath. 

How shall I know if I do choose the right ? 10 

Por. The one of them contains my picture, prince; 
If you choose that, then I am yours withal. 



94 THE MERCHANT OF VENICE [Act II 

Mor. Some god direct my judgment ! Let me 
see. 
I will survey the inscriptions back again : 
What says this leaden casket ? 

Who chooseth me must give and hazard all he hath. 

Must give — for what? for lead? hazard for lead? 
This casket threatens : men that hazard all 
Do it in hope of fair advantages : 
20 A golden mind stoops not to shows of dross ; 
I'll then nor give nor hazard aught for lead. 
What says the silver with her virgin hue ? 

Who chooseth me shall get as much as he deserves. 

As much as he deserves ? — Pause there, Morocco, 
And weigh thy value with an even hand : 
If thou be'st rated by thy estimation, 
Thou dost deserve enough ; and yet enough 
May not extend so far as to the lady : 
And yet to be afeard of my deserving 
30 Were but a weak disabling of myself. 

As much as I deserve ! — Why, that's the lady : 
I do in birth deserve her, and in fortunes, 
In graces, and in qualities of breeding ; 
But more than these, in love I do deserve. 



Scene 6] THE MERCHANT OF VENICE 95 

What if I stray'd no further, but chose here ? — 
Let's see once more this saying graved in gold : 

Who chooseth me shall gain what many men desire. 

Why, that's the lady : all the world desires her : 

From the four corners of the earth they come 

To kiss this shrine, this mortal-breathing saint. 40 

The Hyrcanian deserts and the vasty wilds 

Of wide Arabia are as throughfares now, 

For princes to come view fair Portia. 

The watery kingdom, whose ambitious head 

Spits in the face of heaven, is no bar 

To stop the foreign spirits ; but they come, 

As o'er a brook, to see fair Portia. 

One of these three contains her heavenly picture. 

Is't like that lead contains her ? 'Twere damnation 

To think so base a thought : it were too gross 50 

To rib her cerecloth in the obscure grave. 

Or shall I think in silver she's immured, 

Being ten times undervalued to tried gold ? 

O sinful thought ! Never so rich a gem 

Was set in worse than gold. They have in England 

A coin that bears the figure of an angel 

Stamped in gold ; but that's insculped upon ; 

But here an angel in a golden bed 



96 THE MERCHANT OF VENICE [Act II 

Lies all within. — Deliver me the key ; 
60 Here do I choose, and thrive I as I may. 

Por. There, take it, prince; and, if my form lie 
there, 
Then I am yours. [He unlocks the golden casket. 

Mor. O hell ! what have we here ? 

A carrion death, within whose empty eye 
There is a written scroll ! I'll read the writing. 

All that glisters is not gold, 
Often have you heard that told ; 
Many a man his life hath sold 
But my outside to behold : 
Gilded tombs do worms infold. 
70 Had you been as wise as bold, 

Young in limbs, in judgment old, 
Your answer had not been inscroll'd : 
Fare you well; your suit is cold. 

Cold, indeed ; and labor lost : 
Then, farewell, heat ; and welcome, frost. — 
Portia, adieu ! I have too grieved a heart 
To take a tedious leave : thus losers part. 

[Exit, with his Train. 
Por. A gentle riddance. — Draw the curtains, 
go; — 
Let all of his complexion choose me so. [Exeunt. 



Scene 7] THE MERCHANT OF VENICE 97 

Scene VII 

Venice. A Street 

Enter Salarino and Solanio 

Salar. Why, man, I saw Bassanio under sail; 
With him is Gratiano gone along ; 
And in their ship, I am sure Lorenzo is not. 

Solan. The villain Jew with outcries raised the 
duke ; 
Who went with him to search Bassanio's ship. 

Salar. He came too late, the ship was under sail : 
But there the duke was given to understand 
That in a gondola were seen together 
Lorenzo and his amorous Jessica ; 

Besides, Antonio certified the duke 10 

They were not with Bassanio in his ship. 

Solan. I never heard a passion so confused, 
So strange, outrageous, and so variable, 
As the dog Jew did utter in the streets : 
My daughter ! — O my ducats ! — my daughter ! 
Fled with a Christian 1 ? — my Christian ducats! — 
Justice I the law ! my ducats, and my daughter ! 
A sealed bag, two sealed bags of ducats, 



"98 THE MERCHANT OF VENICE [Act II 

Of double ducats, stolen from me by my daughter ! 
20 And jewels ; two stones, two rich and precious stones, 
Stolen by my daughter ! — Justice ! find the girl ! 
She hath the stones upon her, and the ducats ! 

Salar. Why, all the boys in Venice follow him, 
Crying — his stones, his daughter, and his ducats. 

Solan. Let good Antonio look he keep his day, 
Or he shall pay for this. 

Salar. Marry, well remember'd ; 

I reason'd with a Frenchman yesterday, 
Who told me — in the narrow seas that part 
The French and English, there miscarried 
30 A vessel of our country, richly fraught : 
I thought upon Antonio when he told me, 
And wish'd in silence that it were not his. 

Solan. You were best to tell Antonio what you 
hear ; 
Yet do not suddenly, for it may grieve him. 

Salar. A kinder gentleman treads not the earth. 
1 saw Bassanio and Antonio part : 
Bassanio told him he would make some speed 
Of his return ; he answered — Do not so, 
Slubber not business for my sake, Bassanio, 
40 But stay the very riping of the time ; 

And for the Jew's bond, which he hath of me, 



Scene 8] THE MERCHANT OF VENICE 99 

Let it not enter in your mind of love; 

Be merry ; and employ your chiefest thoughts 

To courtship, and such fair ostents of love 

As shall conveniently become you there : 

And even there, his eye being big with tears, 

Turning his face, he put his hand behind him, 

And with affection wondrous sensible 

He wrung Bassanio's hand, and so they parted. 

Solan. I think he only loves the world for him. 50 
I pray thee, let us go and find him out, 
And quicken his embraced heaviness 
With some delight or other. 

Salar. Do we so. [Exeunt. 



Scene VIII 

Belmont. A Room in Portia's House 

Enter Nerissa with a Servant 

Ner. Quick, quick, I pray thee, draw the curtain 
straight ; 
The Prince of Arragon hath ta'en his oath, 
And comes to his election presently. 



100 THE MERCHANT OF VENICE [Act II 



Flourish of Cornets. Enter the Prince of Arragon, 
Portia, and their Trains 

Por. Behold, there stand the caskets, noble prince ; 
If you choose that wherein I am contain'd, 
Straight shall our nuptial rites be solemnized : 
But if you fail, without more speech, my lord, 
You must be gone from hence immediately. 

Ar. I am enjoin'd by oath to observe three things : 
10 First, never to unfold to any one 

Which casket 'twas I chose ; next, if I fail 
Of the right casket, never in my life 
To woo a maid in way of marriage ; lastly, 
If I do fail in fortune of my choice, 
Immediately to leave you and be gone. 

Por. To these injunctions every one doth swear 
That comes to hazard for my worthless self. 

Ar. And so have I address'd me. Fortune now 
To my heart's hope! — Gold, silver, and base lead. 

20 Who chooseth me must give and hazard all he hath. 

You shall look fairer ere I give or hazard. 
What says the golden chest ? ha ! let me see : 

Who chooseth me shall gain what many men desire. 



Scene 8] THE MERCHANT OF VENICE 101 

What many men desire. — That many may be meant 
By the fool multitude, that choose by show, 
Not learning more than the fond eye doth teach, 
Which pries not to th'interior, but, like the martlet, 
Builds in the weather on the outward wall, 
Even in the force and road of casualty. 
I will not choose what many men desire, 
Because I will not jump with common spirits, 
And rank me with the barbarous multitudes. 
Why, then to thee, thou silver treasure-house ; 
Tell me once more what title thou dost bear : 

Who chooseth me shall get as much as he deserves. 

And well said too. For who shall go about 

To cozen fortune, and be honorable 

Without the stamp of merit ! Let none presume 

To wear an undeserved dignity. 

O, that estates, degrees, and offices 

Were not derived corruptly! and that clear honor 

Were purchased by the merit of the wearer ! 

How many then should cover that stand bare ! 

How many be commanded that command ! 

How much low peasantry would then be glean'd 

From the true seed of honor ! and how much honor 

Pick'd from the chaff and ruin of the times, 



102 THE MERCHANT OF VENICE [Act II 

To be new-varnish'd ! Well, but to my choice : 

Who chooseth me shall get as much as he deserves. 

50 1 will assume desert. — Give me a key for this, 
And instantly unlock my fortunes here. 

Por. Too long a pause for that which you find 

there. 
Ar. What's here ? the portrait of a blinking idiot, 
Presenting me a schedule ! I will read it. 
How much unlike art thou to Portia ! 
How much unlike my hopes and my deservings ! 

Who chooseth me shall get as much as he deserves. 

Did I deserve no more than a fool's head ? 

Is that my prize? are my deserts no better? 

60 Por. To offend and judge are distinct offices 

And of opposed natures: 

Ar. What is here? 

[Reads] 

The fire seven times tried this : 
Seven times tried that judgment is 
That did never choose amiss: 
Some there be that shadows kiss ; 
Such have but a shadow's bliss : 
There be fools alive, I wis, 
Silver'd o'er ; and so was this. 
I will ever be your head : 
70 So begone: you are sped. 



Scene 8] THE MERCHANT OF VENICE 103- 

Still more fool I shall appear 

By the time I linger here : 

With one fool's head I came to woo, 

But I go away with two. 

Sweet, adieu ! I'll keep my oath, 

Patiently to bear my wroth. 

[Exeunt Arragon and Train. 
Por. Thus hath the candle singed the moth. 
O these deliberate fools ! when they do choose, 
They have the wisdom by their wit to lose. 

Ner. The ancient saying is no heresy ; — 80 

Hanging and wiving goes by destiny. 
Por. Come, draw the curtain, Nerissa. 

Enter a Servant 

Serv. Where is my lady ? 

Por. Here ; what would my lord ? 

Serv. Madam, there is alighted at your gate 
A young Venetian, one that comes before 
To signify the approaching of his lord : 
From whom he bringeth sensible regreets ; 
To wit, besides commends and courteous breath, 
Gifts of rich value ; yet I have not seen 
So likely an ambassador of love : 90 

A day in April never came so sweet, 



104 THE MERCHANT OF VENICE [Act III 

To show how costly summer was at hand, 
As this fore-spurrer comes before his lord. 

Por. No more, I pray thee ; I am half afeard, 
Thou wilt say anon he is some kin to thee, 
Thou spend'st such high-day wit in praising him. 
Come, come, Nerissa ; for I long to see 
Quick Cupid's post that comes so mannerly. 

Ner. Bassanio, lord Love, if thy will it be ! 

[Exeunt. 



Scene 1] THE MERCHANT OF VENICE 105 



ACT III 

Scene I 

Venice. A Street 

Enter Solanio and Salarino 

Solan. Now, what news on the Rialto? 

Salar. Why, yet it lives there unchecked that An- 
tonio hath a ship of rich lading wrecked on the narrow 
seas, — the Goodwins, I think they call the place ; a 
very dangerous flat, and fatal, where the carcases of 
many a tall ship lie buried, as they say, if my gossip 
Report be an honest woman of her word. 

Solan. I would she were as lying a gossip in that, 
as ever knapped ginger, or made her neighbors believe 
she wept for the death of a third husband. But, it is 10 
true, — without any slips of prolixity, or crossing the 
plain highway of talk, — that the good Antonio, the 
honest Antonio, — O that I had a title good enough 
to keep his name company ! — 

Salar. Come, the full stop. 

Solan. Ha, — what say'st thou ? — Why, the end is, 
he hath lost a ship. 



106 THE MERCHANT OF VENICE [Act III 

Salar. I would it might prove the end of his losses ! 

Solan. Let me say amen betimes, lest the devil cross 

2Qmy prayer; for here he comes in the likeness of a 

Enter Shylock 

How now, Shylock? what news among the mer- 
chants ? 

Shy. You knew, none so well, none so well as you, 
of my daughter's flight. 

Salar. That's certain. I, for my part, knew the 
tailor that made the wings she flew withal. 

Solan. And Shylock, for his own part, knew the 
bird was fledged ; and then it is the complexion of 
30 them all to leave the dam. 

Shy. She is damned for it. 

Salar. That's certain, if the devil may be her judge. 

Shy. My own flesh and blood to rebel ! 

Solan. Oat upon it, old carrion ! rebels it at these 
years ? 

Shy. I say my daughter is my flesh and blood. 

Salar. There is more difference between thy flesh 

and hers than between jet and ivory ; more between 

your bloods, than there is between red wine and 

40 Rhenish ; — but tell us, do you hear whether Antonio 

have had any loss at sea or no? 



Scene 1] THE MERCHANT OF VENICE 107 

Shy. There I have another bad match : a bankrupt, 
a prodigal, who dare scarce show his head on the 
Rialto ; a beggar that was used to come so smug upon 
the mart. Let him look to his bond : he was wont to 
call me usurer ; — let him look to his bond : he was 
wont to lend money for a Christian courtesy; — let 
him look to his bond. 

Salar. Why, I am sure, if he forfeit, thou wilt not 
take his flesh ? What's that good for? 50 

Shy. To bait fish withal : if it will feed nothing 
else, it will feed my revenge. He hath disgraced me, 
and hindered me half a million ; laughed at my 
losses, mocked at my gains, scorned my nation, 
thwarted my bargains, cooled my friends, heated 
mine enemies ; and what's his reason ? I am a Jew. 
Hath not a Jew eyes ? hath not a Jew hands, organs, 
dimensions, senses, affections, passions ? fed with the 
same food, hurt with the same weapons, subject to 
the same diseases, healed by the same means, warmed 60 
and cooled by the same winter and summer as a 
Christian is ? If you prick us, do. we not bleed ? If 
you tickle us, do we not laugh ? if you poison us, do 
we not die? and i^" you wrong us, shall we not re- 
venge? If we are like you in the rest, we will re- 
semble you in that. If a Jew wrong a Christian, 



108 THE MERCHANT OF VENICE [Act III 

what is his humility? revenge. If a Christian wrong 
a Jew, what should his sufferance be by Christian ex- 
ample? why, revenge. The villany you teach me I 
70 will execute; and it shall go hard but I will better 
the instruction. 

Enter a Servant 

Serv. Gentlemen, my master Antonio is at his 
house, and desires to speak with you both. 

Salar. We have been up and down to seek him. 

Enter Tubal 

Solan. Here comes another of the tribe ; a third 

cannot be matched, unless the devil himself turn Jew. 

[Exeunt Solanio, Salarino, qnd Servant. 

Shy. How now, Tubal, what news from Genoa? 
hast thou found my daughter ? 

Tub. I often came where I did hear of her, but 
80 cannot find her. 

Shy. Why, there, there, there, there ! a diamond 
gone, cost me two thousand ducats in Frankfort ! The 
curse never fell upon our nation till now ; I never felt 
it till now : — two thousand ducats in that ; and other 
precious, precious jewels. — T would my daughter were 
dead at my foot, and the jewels in her ear ! would she 
were hearsed at my foot, and the ducats in her coffin ! 



Scene 1] THE MERCHANT OF VENICE 109 

No news of them ? — Why, so : — and I know not 
what's spent in the search. Why, thou loss upon loss ! 
the thief gone with so much, and so much to find the 90 
thief; and no satisfaction, no revenge : nor no ill luck 
stirring but what lights o' my shoulders ; no sighs 
but o' my breathing ; no tears but o' my shedding. 

Tub. Yes, other men have ill luck too. Antonio, 
as I heard in Genoa, — 

Shy. What, what, what? ill luck, ill luck? 

Tub. — hath an argosy cast away, coming from 
Tripolis. 

Shy. I thank God, I thank God : — is it true ? is it 
true ? 100 

Tub. I spoke with some of the sailors that escaped 
the wreck. 

Shy. I th^ank thee, good Tubal ; — good news, good 
news : ha ! ha ! — Where ? in Genoa ? 

Tub. Your daughter spent in Genoa, as I heard, 
one night fourscore ducats ! 

Shy. Thou stick'st a dagger in me : — I shall never 
see my gold again. Fourscore ducats at a sitting ! 
fourscore ducats ! 

Tub. There came divers of Antonio's creditors in 130 
my company to Venice, that swear he cannot choose 
but break. 



110 THE MERCHANT OF VENICE [Act III 

Shy. I am very glad of it : I'll plague him ; I'll tor- 
ture him ; I am glad of it. 

Tub. One of them showed me a ring that he had of 
your daughter for a monkey. 

Shy. Out upon her ! Thou torturest me, Tubal : 
it was my turquoise : I had it of Leah, when I was a 
bachelor : I would not have given it for a wilderness 
120 of monkeys. 

Tub. But Antonio is certainly undone. 

Shy. Nay, that's true, that's very true. Go, Tubal, 
fee me an officer, bespeak him a fortnight before: I 
will have the heart of him, if he forfeit ; for, were he 
out of Venice, I can make what merchandise I will. 
Go, Tubal, and meet me at our synagogue ; go, good 
Tubal; at our synagogue, Tubal. [Exeunt. 



Scene II 

Belmont. A Room in Portia's House 

Enter Bassanio, Portia, Gratiano, Nerissa, and 
Attendants 

The caskets are set out 

Por. I pray you, tarry : pause a day or two 
Before you hazard ; for, in choosing wrong, 



Scene 2] THE MERCHANT OF VENICE 111 

I lose your company ; therefore, forbear awhile : 

There's something tells me, (but it is not love,) 

I would not lose you ; and you know yourself 

Hate counsels not in such a quality : 

But lest you should not understand me well, 

(And yet a maiden hath no tongue but thought,) 

I would detain you here some month or two 

Before you venture for me. I could teach you 10 

How to choose right, but then I am forsworn ; ' 

So will I never be : so may you miss me ; 

But if you do, you'll make me wish a sin, 

That I had been forsworn. Beshrew your eyes, 

They have o'erlook'd me and divided me ; 

One half of me is yours, the other half yours, — 

Mine own, I would say ; but if mine, then yours, 

And so all yours : O ! these naughty times 

Put bars between the owners and their rights; 

And so, though yours, not yours. — Prove it so : — 20 

I speak too long ; but 'tis to peize the time ; 

To eke it and to draw it out in length, 

To stay you from election. 

Bass. Let me choose ; 

For, as I am, I live upon the rack. 

Por. Upon the rack, Bassanio? then confess 
What treason there is mingled with your love. 



112 THE MERCHANT OF VENICE [Act III 

Bass. None but that ugly treason of mistrust, 
Which makes me fear the enjoying of my love : 
There may as well be amity and life 
30 'Tween snow and fire, as treason and my love. 

Por. Ay, but I fear you speak upon the rack, 
Where men enforced do speak anything. 

Bass. Promise me life, and I'll confess the truth. 

Por. Well, then, confess and live. 

Bass. Confess and love 

Had been the very sum of my confession : 
O happy torment, when my torturer 
Doth teach me answers for deliverance ! 
But let me to my fortune and the caskets. 

Por. Away then : I am lock'd in one of them ; 
40 If you do love me, you will find me out. 
Nerissa and the rest, stand all aloof. 
Let music sound while he doth make his choice ; 
Then, if he lose, he makes a swan-like end, 
Fading in music : that the comparison 
May stand more proper, my eye shall be the stream 
And watery death-bed for him. He may win ; 
And what is music then ? then music is 
Even as the flourish when true subjects bow 
To a new-crowned monarch : such it is, 
50 As are those dulcet sounds in break of day 



Scene 2] THE MERCHANT OF VENICE 113 

That creep into the dreaming bridegroom's ear 

And summon him to marriage. Now he goes. 

With no less presence, but with much more love, 

Than young Alcides, when he did redeem 

The virgin tribute paid by howling Troy 

To the sea-monster: I stand for sacrifice; 

The rest aloof are the Dardanian wives, 

With bleared visages, come forth to view 

The issue of the exploit. Go, Hercules ! 

Live thou, I live. — With much, much more dismay 60 

I view the fight than thou that mak'st the fray. 

Music, whilst Bassanio comments on the caskets to him- 
self 

SONG 

Tell me where is fancy bred, 
Or in the heart or in the head ? 
How begot, how nourished ? 

Reply, reply. 
It is engender'd in the eyes, 
"With gazing fed ; and fancy dies 
In the cradle where it lies : 
Let us all ring fancy's knell ; 
I'll begin it, — Ding, dong, bell. 70 

All. Ding, dong, bell. 



114 THE MERCHANT OF VENICE [Act III 

Bass. So may the outward shows be least them- 
selves ; 
The world is still deceived with ornament. 
In law, what plea so tainted and corrupt 
But, being season'd with a gracious voice, 
Obscures the show of evil ? In religion, 
What damned error, but some sober brow 
Will bless it and approve it with a text, 
Hiding the grossness with fair ornament ? 

80 There is no vice so simple but assumes 
Some mark of virtue on his outward parts. 
How many cowards, whose hearts are all as false 
As stairs of sand, wear yet upon their chins 
The beards of Hercules and frowning Mars, 
Who, inward search'd, have livers white as milk ; 
And these assume but valor's excrement 
To render them redoubted ! Look on beauty, 
And you shall see 'tis purchased by the weight ; 
Which therein works a miracle in nature, 

90 Making them lightest that wear most of it : 
So are those crisped, snaky, golden locks 
Which make such wanton gambols with the wind, 
Upon supposed fairness, often known 
To be the dowry of a second head, 
The skull that bred them in the sepulchre. 



Scene 2] THE MERCHANT OF VENICE 115 

Thus ornament is but the guiled shore 

To a most dangerous sea ; the beauteous scarf 

Veiling an Indian beauty ; in a word, 

The seeming truth which cunning times put on 

To entrap the wisest. Therefore, thou gaudy gold, 100 

Hard food for Midas, I will none of thee : 

Nor none of thee, thou pale and common drudge 

'Tween man and man. But thou, thou meagre lead, 

Which rather threatenest than dost promise aught, 

Thy plainness moves me more than eloquence, 

And here choose I. Joy be the consequence ! 

Por. \_Aside.~] How all the other passions fleet to air, 
As doubtful thoughts and rash-embraced despair 
And shuddering fear, and green-eyed jealousy ! 

love, be moderate, allay thy ecstasy : 110 
In measure rain thy joy, scant this excess ; 

1 feel too much thy blessing, make it less 
For fear I surfeit ! 

Bass. What find I here? 

[Opening the leaden casket 
Fair Portia's counterfeit ! What demi-god 
Hath come so near creation ? Move these eyes ? 
Or whether, riding on the balls of mine, 
Seem they in motion? Here are sever'd lips, 
Parted with sugar breath ; so sweet a bar 



116 THE MERCHANT OF VENICE [Act III 

Should sunder such sweet friends. Here in her hairs 
120 The painter plays the spider ; and hath woven 
A golden mesh to entrap the hearts of men, 
Faster than gnats in cobwebs. But her eyes, — 
How could he see to do them? having made one, 
Methinks it should have power to steal both his, 
And leave itself unfurnish'd. Yet look, how far 
The substance of my praise doth wrong this shadow 
In underprizing it, so far this shadow 
Doth limp behind the substance. — Here's the scroll, 
The continent and summary of my fortune. 

130 You that choose not by the view, 

Chance as fair, and choose as true ! 
Since this fortune falls to you, 
Be content, and seek no new. 
If you be well pleased with this 
And hold your fortune for your bliss, 
Turn you where your lady is 
And claim her with a loving kiss. 

A gentle scroll. — Fair lady, by your leave : 

[Kissing her. 
I come by note to give and to receive. 
140 Like one of two contending in a prize, 

That thinks he hath done well in people's eyes, 
Hearing applause and universal shout, 



Scene 2] THE MERCHANT OF VENICE 117 

Giddy in spirit, still gazing in a doubt 
Whether those peals of praise be his or no ; 
So, thrice fair lady, stand I, even so ; 
As doubtful whether what I see be true, 
Until confirm'd, sign'd, ratified by you. 

Por. You see me, lord Bassanio, where I stand, 
Such as I am : though, for myself alone 
I would not be ambitious in my wish, 150 

To wish myself much better ; yet, for you 
I would be trebled twenty times myself : 
A thousand times more fair, ten thousand times 
More rich ; 

That only to stand high in your account 
I might in virtues, beauties, livings, friends, 
Exceed account : but the full sum of me 
Is sum of — something, which, to term in gross, 
Is an unlesson'd girl, unschool'd, unpractised : 
Happy in this, she is not yet so old 160 

But she may learn ; happier than this, 
She is not bred so dull but she can learn ; 
Happiest of all in that her gentle spirit 
Commits itself to yours to be directed, 
As from her lord, her governor, her king. 
Myself and what is mine to you and yours 
Is now converted : but now I was the lord 



118 THE MERCHANT OF VENICE [Act III 

Of this fair mansion, master of my servants, 
Queen o'er myself ; and even now, but now, 

170 This house, these servants, and this same myself 
Are yours, my lord, — I give them with this ring 
Which when you part from, lose, or give away, 
Let it presage the ruin of your love, 
And be my vantage to exclaim on you. 

Bass. Madam, you have bereft me of all words, 
Only my blood speaks to you in my veins : 
And there is such confusion in my powers 
As, after some oration fairly spoke 
By a beloved prince, there doth appear 

180 Among the buzzing, pleased multitude; 

Where every something, being blent together, 
Turns to a wild of nothing, save of joy, 
Express'd and not express'd. But when this ring 
Parts from this finger, then parts life from hence ; 
O, then be bold to say Bassanio's dead. 

Ner. My lord and lady, it is now our time, 
That have stood by and seen our wishes prosper, 
To cry good joy ; good joy, my lord and lady ! 
Gra. My lord Bassanio and my gentle lady, 

190 1 wish you all the joy that you can wish ; 
For I am sure you can wish none from me : 
And, when your honors mean to solemnize 



Scene 2] THE MERCHANT OF VENICE 119 

The bargain of your faith, I do beseech you 
Even at that time I may be married too. 

Bass. With all my heart, so thou canst get a wife. 

Gra. I thank your lordship ; you have got me one. 
My eyes, my lord, can look as swift as yours : 
You saw the mistress, I beheld the maid ; 
You loved, I loved ; for intermission 

No more pertains to me, my lord, than you. 200 

Your fortune stood upon the caskets there ; 
And so did mine too, as the matter falls : 
For wooing here until I sweat again, 
And swearing till my very roof was dry 
With oaths of love, at last, — if promise last, — 
I got a promise of this fair one here 
To have her love, provided that your fortune 
Achieved her mistress. 

Por. Is this true, Nerissa? 

Ner. Madam, it is, so you stand pleased withal. 

Bass. And do you, Gratiano, mean good faith ? 210 

Gra. Yes, faith, my lord. 

Bass. Our feast shall be much honor'd in your 
marriage. 

Gra. But who comes here ? Lorenzo, and his 
infidel ? 
What, and my old Venetian friend, Solanio ? 



120 THE MERCHANT OF VENICE [Act III 

Enter Lorenzo, Jessica, and Solanio 

Bass. Lorenzo and Solanio, welcome hither ; 
If that the youth of my new interest here 
Have power to bid you welcome. — By your leave, 
I bid my very friends and countrymen, 
Sweet Portia, welcome. 

Por. So do I, my lord ; 

220 They are entirely welcome. 

Lor. I thank your honor. — For my part, my lord, 
My purpose was not to have seen you here ; 
But meeting with Solanio by the way, 
He did entreat me, past all saying nay, 
To come with him along. 

Solan. I did, my lord, 

And I have reason for it. Signior Antonio 
Commends him to you. [Gives Bassanio a letter. 

Bass. # Ere I ope this letter, 

I pray you tell me how my good friend doth. 

Solan. Not sick, my lord, unless it be in mind ; 
230 Nor well, unless in mind : his letter there 
Will show you his estate. 

Gra. Nerissa, cheer yon stranger; bid her welcome. 
Your hand, Solanio. What's the news from Venice ? 
How doth that royal merchant, good Antonio ? 



Scene 2] THE MERCHANT OF VENICE 121 

I know he will be glad of our success ; , 

We are the Jason s, we have won the fleece. 

Solan. I would you had won the fleece that he 
hath lost ! 

Por. There are some shrewd contents in yon same 
paper, 
That steal the color from Bassanio's cheek ; 
Some dear friend dead ; else nothing in the world 240 
Could turn so much the constitution 
Of any constant man. What, worse and worse ? — 
With leave, Bassanio ; I am half yourself, 
And I must freely have the half of anything 
That this same paper brings you. 

Bass. O sweet Portia, 

Here are a few of the unpleasant'st words 
That ever blotted paper ! Gentle lady, 
When I did first impart my love to you, 
I freely told you all the wealth I had 
Ran in my veins, — I was a gentleman ; 250 

And then I told you true: and yet, dear lady, 
Rating myself at nothing, you shall see 
How much I was a braggart. When I told you 
My state was nothing, I should then have told you 
That I was worse than nothing; for, indeed, 
I have engaged myself to a dear friend, 



122 THE MERCHANT OF VENICE [Act III 

Engaged my friend to his mere enemy, 

To feed my means. Here is a letter, lady ; 

The paper as the body of my friend, 
260 And every word in it a gaping wound, 

Issuing life-blood. But is it true, Solanio ? 

Have all his ventures fail'd? What, not one hit? 

From Tripolis, from Mexico, and England, 

From Lisbon, Barbary, and India? 

And not one vessel 'scape the dreadful touch 

Of merchant-marring rocks ? 

Solan. Not one, my lord. 

Besides, it should appear, that if he had 

The present money to discharge the Jew, 

He would not take it. Never did I know 
270 A creature that did bear the shape of man, 

So keen and greedy to confound a man : 

He plies the duke at morning, and at night ; 

And doth impeach the freedom of the state 

If they deny him justice : twenty merchants, 

The duke himself, and the magnificoes 

Of greatest port, have all persuaded with him ; 

But none can drive him from the envious plea 

Of forfeiture, of justice, and his bond. 
Jes. When I was with him, I have heard him swear 
280 To Tubal, and to Chus, his countrymen, 



Scene 2] THE MERCHANT OF VENICE 123 

That he would rather have Antonio's flesh 
Than twenty times the value of the sum 
That he did owe him ; and I know, my lord, 
If law, authority, and power deny not, 
It will go hard with poor Antonio. 

Por. Is it your dear friend that is thus in trouble ? 

Bass. The dearest friend to me, the kindest man, 
The best condition'd and unwearied spirit 
In doing courtesies ; and one in whom 
The ancient Roman honor more appears 290 

Than any that draws breath in Italy. 

Por. What sum owes he the Jew? 

Bass. For me three thousand ducats. 

Por. What, no more? 

Pay him six thousand, and deface the bond ; 
Double six thousand, and then treble that, 
Before a friend of this description 
Shall lose a hair through Bassanio's fault. 
First, go with me to church, and call me wif e ; 
And then away to Venice to your friend ; 
For never shall you be by Portia's side 300 

With an unquiet soul. You shall have gold 
To pay the petty debt twenty times over ; 
When it is paid, bring your true friend along : 
My maid Nerissa and myself meantime 



124 THE MERCHANT OF VENICE [Act III 

Will live as maids and widows. Come, away ; 
For you shall hence upon your wedding-day : 
Bid your friends welcome, show a merry cheer : 
Since you are dear bought, I will love you dear. 
But let me hear the letter of your friend. 

310 Bass, [reads] Sweet Bassanio, my ships have all mis- 
carried, my creditors grow cruel, my estate is very low, 
my bond to the Jew is forfeit; and since, in paying it, 
it is impossible I should live, all debts are cleared between 
you and I, if I might but see you at my death ; notwith- 
standing, use your pleasure : if your love do not per- 
suade you to come, let not my letter. 

Por. O love, dispatch all business, and be gone. 
Bass. Since I have your good leave to go away, 
I will make haste : but, till I come again, 

320 No bed shall e'er be guilty of my stay, 

Nor rest be interposer 'twixt us twain. 

[Exeunt. 

Scene III 

Venice. A Street 

Enter Shylock, Salarino, Antonio, and Gaoler 

Shy. Gaoler, look to him. Tell not me of mercy ; — 
This is the fool that lends out money gratis ; — 
Gaoler, look to him. 



Scene 3] THE MERCHANT OF VENICE 125 

Ant. Hear me yet, good Shylock. 

Shy. I'll have my bond; speak not against my 
bond; 
I have sworn an oath that I will have my bond : 
Thou call'dst me dog before thou hadst a cause : 
But, since I am a dog, beware my fangs : 
The duke shall grant me justice. — I do wonder, 
Thou naughty gaoler, that thou art so fond 
To come abroad with him at his request. 10 

Ant. I pray thee, hear me speak. 

Shy. I'll have my bond ; I will not hear thee 
speak : 
I'll have my bond ; and therefore speak no more. 
I'll not be made a soft and dull-eyed fool, 
To shake the head, relent, and sigh, and yield 
To Christian intercessors. Follow not ; 
I'll have no speaking ; I will have my bond. [Exit. 

Salar. It is the most impenetrable cur 
That ever kept with men. 

Ant. Let him alone: 

I'll follow him no more with bootless prayers. 20 

He seeks my life ; his reason well I know : 
I oft deliver'd from his forfeitures 
Many that have at times made moan to me ; 
Therefore he hates me. 



126 THE MERCHANT OF VENICE [Act III 

Salar. I am sure the duke 

Will never grant this forfeiture to hold. 

Ant. The duke cannot deny the course of law; 
For the commodity that strangers have 
With us in Venice, if it be denied, 
Will much impeach the justice of the state : 
30 Since that the trade and profit of the city 
Consisteth of all nations. Therefore, go : 
These griefs and losses have so 'bated me, 
That I shall hardly spare a pound of flesh 
To-morrow to my bloody creditor. 
Well, gaoler, on. — Pray God, Bassanio come 
To see me pay his debt, and then I care not ! 

* [Exeunt. 

Scene IV 

Belmont. A Room in Portia's House 

Enter Portia, Nerissa, Lorenzo, Jessica, and 
Balthazar 

Lor. Madam, although I speak it in your presence, 
You have a noble and a true conceit 
Of god-like amity ; which appears most strongly 
In bearing thus the absence of your lord. 
But, if you knew to whom you show this honor, 



Scene 4] THE MERCHANT OF VENICE 127 

How true a gentleman you send relief, 
How dear a lover of my lord your husband, 
I know you would be prouder of the work 
Than customary bounty can enforce you. 

Por. I never did repent for doing good, 10 

Nor shall not now : for in companions 
That do converse and waste the time together, 
Whose souls do bear an equal yoke of love, 
There must be needs a like proportion 
Of lineaments, of manners, and of spirit; 
Which makes me think, that this Antonio, 
Being the bosom lover of my lord, 
Must needs be like my lord. If it be so, 
How little is the cost I have bestow'd 
In purchasing the semblance of my soul 20 

From out the state of hellish cruelty ! 
This comes too near the praising of myself ; 
Therefore, no more of it : hear other things. 
Lorenzo, I commit into your hands 
The husbandry and manage of my house 
Until my lord's return : for mine own part, 
I have toward heaven breathed a secret vow 
To live in prayer and contemplation, 
Only attended by Nerissa here, 
Until her husband and my lord's return : 30 



128 THE MERCHANT OF VENICE [Act III 

There is a monastery two miles off, 

And there we will abide. I do desire you 

Not to deny this imposition ; 

The which my love and some necessity 

Now lays upon you. 

Lor. Madam, with all my heart, 

I shall obey you in all fair commands. 

Por. My people do already know r my mind, 
And will acknowledge you and Jessica 
In place of lord Bassanio and myself. 
40 So fare you well till we shall meet again. 

Lor. Fair thoughts and happy hours attend on you ! 

Jes. I wish your ladyship all heart's content. 

Por. I thank you for your wish, and am well 
pleased 
To wish it back on you : fare you well, Jessica. 

[Exeunt Jessica and Lorenzo. 
Now, Balthazar, 

As I have ever found thee honest-true, 
So let me find thee still. Take this same letter, 
And use thou all the endeavor of a man 
In speed to Padua ; see thou render this 
50 Into my cousin's hand, Doctor Bellario ; 

And, look, what notes and garments he doth give 
thee 



Scene 4] THE MERCHANT OF VENICE 129 

Bring them, I pray thee, with imagined speed 
Unto the tranect, to the common ferry 
Which trades to Venice : — waste no time in words,. 
But get thee gone ; I shall be there before thee. 

Balth. Madam, I go with all convenient speed. 

[Exit. 

Por. Come on, Nerissa; I have work in hand 
That you yet know not of ; we'll see our husbands 
Before they think of us. 

Ner. Shall they see us ? 

Por. They shall, Nerissa ; but in such a habit 60 

That they shall think we are accomplished 
With that we lack. I'll hold thee any wager, 
When we are both accoutred like young men, 
I'll prove the prettier fellow of the two, 
And wear my dagger with the braver grace ; 
And speak, between the change of man and boy, 
With a reed voice ; and turn two mincing steps 
Into a manly stride ; and speak of frays, 
Like a fine bragging youth ; and tell quaint lies, 
How honorable ladies sought my love, 70 

Which I denying, they fell sick and died ; 
I could not do withal : then I'll repent, 
And wish, for all that, that I had not kill'd them : 
And twenty of these puny lies I'll tell, 



130 THE MERCHANT OF VENICE [Act III 

That men shall swear I've discontinued school 

Above a twelvemonth : — I have within my mind 

A thousand raw tricks of these bragging Jacks, 

Which I will practise. 

But come, I'll tell thee all my whole device 

80 When I am in my coach, which stays for us 

At the park gate ; and therefore haste away, 

For we must measure twenty miles to-day. 

[Exeunt. 

Scene V 

The same. A Garden 

Enter Launcelot and Jessica 

Laun. Yes, truly; — for, look you, the sins of the 
father are to be laid upon the children : therefore, I 
promise you I fear you. I was always plain with you, 
and so now I speak my agitation of the matter : 
therefore, be of good cheer ; for, truly, I think you 
are damned. There is but one hope in it that can do 
you any good ; and that is but a kind of base hope 
neither. 

Jes. And what hope is that, I pray thee? 
10 Laun. Marry, you may partly hope that you are not 
the Jew's daughter. 



Scene 5] THE MERCHANT OF VENICE 131 

Jes. That were a kind of base hope, indeed ; so the 
sins of my mother should be visited upon me. 

Laun. Truly then I fear ; when I shun Scylla, your 
father, I fall into Charybdis, your mother; well, you 
are gone both ways. 

Jes. I shall be saved by my husband ; he hath made 
me a Christian. 

Laun. Truly, the more to blame he : we were 
Christians enough before ; e'en as many as could well 20 
live, one by another : this making of Christians will 
raise the price of hogs ; if we grow all to be pork- 
eaters, we shall not shortly have a rasher on the coals 
for money. 

Enter Lorenzo 

Jes. I'll tell my husband, Launcelot, what you say ; 
here he comes. 

Lor. I shall grow jealous of you shortly, Launce- 
lot. 

Jes. Nay, you need not fear us, Lorenzo. Launce- 
lot and I are out : he tells me flatly, there is no mercy 30 
for me in heaven, because I am a Jew's daughter : and 
he says you are no good member of the common- 
wealth ; for, in converting Jews to Christians, you 
raise the price of pork. 



132 THE MERCHANT OF VENICE [Act III 

Lor. I think the best grace of wit will shortly turn 
into silence ; and discourse grow commendable in 
none only but parrots. — Go in, sirrah ; bid them pre- 
pare for dinner. 

Laun. That is done, sir ; they have all stomachs. 
40 Lor. Goodly lord, what a wit-snapper are you ! then 
bid them prepare dinner. 

Laun. That is done, too, sir : only, cover is the 
word. 

Lor. Will you cover, then, sir ? 

Laun. Not so, sir, neither; I know my duty. 

Lor. Yet more quarrelling with occasion ! Wilt 

thou show the whole wealth of thy wit in an instant? 

I pray thee, understand a plain man in his plain 

meaning ; go to thy fellows ; bid them cover the table, 

50 serve in the meat, and we will come in to dinner. 

Laun. For the table, sir, it shall be served in ; for 
the meat, sir, it shall be covered ; for your coming in 
to dinner, sir, why, let it be as humors and conceits 
shall govern. [Exit. 

Lor. O dear discretion, how his words are suited ! 
The fool hath planted in his memory 
An army of good words ; and I do know 
A many fools, that stand in better place, 
Garnish'd like him, that for a tricksy word 



Scene 5] THE MERCHANT OF VENICE 133 

Defy the matter. How cheer'st thou, Jessica? 60 

And now, good sweet, say thy opinion ; — 
How dost thou like the lord Bassanio's wife? 

Jes. Past all expressing. It is very meet 
The lord Bassanio live an upright life; 
For, having such a blessing in his lady, 
He finds the joys of heaven here on earth ; 
And, if on earth he do not mean it, then 
In reason he should never come to heaven. 
Why, if two gods should play some heavenly match, 
And on the wager lay two earthly women, 70 

And Portia one, there must be something else 
Pawn'd with the other; for the pooiyrude world 
Hath not her fellow. 

Lor. Even such a husband 

Hast thou of me, as she is for a wife. 

Jes. Nay, but ask my opinion too of that. 

Lor. I will anon; first, let us go to dinner. 

Jes. Nay, let me praise you while I have a 
stomach. 

Lor. No, pray thee, let it serve for table-talk ; 
Then, howsoe'er thou speak'st, 'mong other things 
I shall digest it. 

Jes. Well, I'll set you forth. 80 

[Exeunt. 



134 THE MERCHANT OF VENICE [Act IV 



ACT IV 

Scene I 

Venice. A Court of Justice 

Enter the Duke, the Magnificoes, Antonio, Bassanio, 
Gratiano, Salarino, Salerio, and others 

Duke. What, is Antonio here ? 

Ant. Ready, so please your grace. 

Duke. I am sorry for thee ; thou art come to answer 
A stony adversary, an inhuman wretch 
Uncapable of pity, void and empty 
From any dram of mercy. 

Ant. I have heard 

Your grace hath ta'en great pains to qualify 
His rigorous course ; but since he stands obdurate, 
And that no lawful means can carry me 
10 Out of his envy's reach, I do oppose 
My patience to his fury ; and am arm'd 
To suffer, with a quietness of spirit, 
The very tyranny and rage of his. 



Scene 1] THE MERCHANT OF VENICE 135 

Duke. Go one, and call the Jew into the court. 
Salar. He's ready at the door : he comes, my lord. 

Enter Shylock 

Duke. Make room, and let him stand before our 
face. 
Shylock, the world thinks, and I think so too, 
That thou but lead'st this fashion of thy malice 
To the last hour of act; and then 'tis thought 
Thou'lt show thy mercy and remorse, more strange 2(V 
Than is thy strange apparent cruelty ; 
And where thou now exact'st the penalty, 
(Which is a pound of this poor merchant's flesh,) 
Thou wilt not only loose the forfeiture, 
But, touch'd with human gentleness and love, 
Forgive a moiety of the principal ; 
Glancing an eye of pity on his losses, 
That have of late so huddled on his back, 
Enough to press a royal merchant down 
And pluck commiseration of his state 30 

From brassy bosoms and rough hearts of flint, 
From stubborn Turks and Tartars, never train'd 
To offices of tender courtesy. 
We all expect a gentle answer, Jew. 

Shy. I have possess'd your grace of what I purpose ; 



136 THE MERCHANT OF VENICE [Act IV 

And by our holy Sabbath have I sworn 

To have the due and forfeit of my bond : 

If you deny it, let the danger light 

Upon your charter and your city's freedom. 
40 You'll ask me why I rather choose to have 

A weight of carrion flesh than to receive 

Three thousand ducats : I'll not answer that : 

But say it is my humor. Is it answer'd? 

What if my house be troubled with a rat, 

And I be pleased to give ten thousand ducats 

To have it baned? What, are you answer'd yet ? 

Some men there are love not a gaping pig ; 

Some, that are mad if they behold a cat ; 

Some, when they hear the bagpipe : for affection, 
50 Mistress of passion, sways it to the mood 

Of what it likes or loathes. Now, for your answer. 

As there is no firm reason to be render'd, 

Why he cannot abide a gaping pig ; 

Why he, a harmless necessary cat ; 

Why he, a wauling bagpipe, — but of force 

Must yield to such inevitable shame, 

As to offend, himself being offended ; 

So can I give no reason, nor I will not, 

More than a lodged hate and a certain loathing 
60 I bear Antonio, that I follow thus 



Scene 1] THE MERCHANT OF VENICE 137 

A losing suit against him. Are you answer'd? 

Bass. This is no answer, thou unfeeling man, 
To excuse the current of thy cruelty. 

Shy. I am not bound to please thee with my 
answer. 

Bass. Do all men lull the things they do not love? 

Shy. Hates any man the thing he would not kill ? 

Bass. Every offence is not a hate at first. 

Shy. What, wouldst thou have a serpent sting thee 
twice? 

A nt. I pray you, think you question with the Jew : 
You may as well go stand upon the beach, 70 

And bid the main flood bate his usual height ; 
You may as well use question with the wolf 
Why he hath made the ewe bleat for the lamb ; 
You may as well forbid the mountain pines 
To wag their high tops and to make no noise 
Wlien they are fretten with the gusts of heaven ; 
You may as well do anything most hard, 
As seek to soften that (than which what's harder?) 
His Jewish heart : — therefore, T do beseech you 
Make no more offers, use no further means, 80 

But, with all brief and plain conveniency, 
Let me have judgment and the Jew his will. 

Bass. For thy three thousand ducats here is six. 



138 THE MERCHANT OF VENICE [Act IV 

Shy. If every ducat in six thousand ducats 
Were in six parts and every part a ducat, 
I would not draw them, — I would have my bond. 

Duke. How shalt thou hope for mercy, rendering 
none? 

Shy. What judgment shall I dread, doing no wrong ? 
You have among you many a purchased slave, 
90 Which, like your asses and your dogs and mules, 
You use in abject and in slavish parts, 
Because you bought them. — Shall I say to you, 
Let them be free, marry them to your heirs ? 
Why sweat they under burdens ? let their beds 
Be made as soft as yours, and let their palates 
Be season'd with such viands? You will answer, 
The slaves are ours : — so do I answer you. 
The pound of flesh which I demand of him 
Is dearly bought ; 'tis mine, and I will have it : 
100 If you deny me, fie upon your law ! 

There is no force in the decrees of Venice : 

I stand for judgment : answer, shall I have it? 

Duke. Upon my power I may dismiss this court, 
Unless Bellario, a learned doctor, 
Whom I have sent for to determine this, 
Come here to-day. 

Saler. My lord, here stays without 



Scene 1] THE MERCHANT OF VENICE 139 

A messenger with letters from the doctor, 
New come from Padua. 

Duke. Bring us the letters. Call the messenger. 

Bass. Good cheer, Antonio ! What, man ! courage 
yet ! 110 

The Jew shall have my flesh, blood, bones, and all, 
Ere thou shalt lose for me one drop of blood. 

Ant. I am a tainted wether of the flock, 
Meetest for death : the weakest kind of fruit 
Drops earliest to the ground, and so let me : 
You cannot better be employ'd, Bassanio, 
Than to live still and write mine epitaph. 

Enter Nerissa, dressed like a lawyer's clerk 

Duke. Came you from Padua, from Bellario? 

Ner. From both, my lord : Bellario greets your 
grace. [Presents a letter. 

Bass. Why dost thou whet thy knife so earnestly ? 120 

Shy. To cut the forfeit from that bankrupt there. 

Gra. Not on thy sole, but on thy soul, harsh Jew, 
Thou mak'st thy knife keen ; but no metal can, 
No, not the hangman's axe, bear half the keenness 
Of thy sharp envy. Can no prayers pierce thee ? 

Shy. No, none that thou hast wit enough to make. 

Gra. O, be thou damn'd, inexorable dog ! 



140 THE MERCHANT OF VENICE [Act IV 

And for thy life let justice be accused. 
Thou almost mak'st me waver in my faith 
130 To hold opinion with Pythagoras, 

That souls of animals infuse themselves 
Into the trunks of men : thy currish spirit 
Govern' d a wolf, who, hang'd for human slaughter, 
Even from the gallows did his fell soul fleet, 
And, whilst thou lay'st in thy unhallow'd dam, 
Infused itself in thee ; for thy desires 
Are wolfish, bloody, starv'd, and ravenous. 

Shy. Till thou canst rail the seal from off my bond, 
Thou but offend'st thy lungs to speak so loud : 
140 Repair thy wit, good youth ; or it will fall 
To cureless ruin. — I stand here for law. 

Duke. This letter from Bellario doth commend 
A young and learned doctor to our court : — 
Where is he? 

Ner. He attendeth here hard by 

To know your answer, whether you'll admit him. 

Duke. With all my heart: — some three or four of 
you 
Go give him courteous conduct to this place. — 
Meantime the court shall hear Bellario's letter. 

Clerk [reads]. Your grace shall understand that at 
150 the receipt of your letter I am very sick ; but in the instant 



Scene 1] THE MERCHANT OF VENICE 141 

that your messenger came, in loving visitation was ivith me 
a young doctor of Rome; his name is Balthazar. I ac- 
quainted him with the cause in controversy between the 
Jew and Antonio the merchant: we turn'd o'er many 
books together: he is furnished with my opinion : which, 
bettered with his own learning (the greatness whereof I 
cannot enough commend'), comes with him, at my importu- 
nity, to fill up your grace's request in my stead. I be- 
seech you, let his lack of years be no impediment to let him 
lack a reverend estimation ; for I never knew so young a 160 
body with so old a head. Heave him to your gracious ac- 
ceptance, whose trial shall better publish his commendation. 
Duke. You hear the learn'd Bellario, what he 
writes : 
And here, I take it, is the doctor come. — 

Enter Portia, dressed like a doctor of laws 

Give me your hand. Come you from old Bellario ? 

Por. I did, my lord. 

Duke. You are welcome : take your place. 

Are you acquainted with the difference 
That holds this present question in the court? 

Por. I am informed throughly of the cause. 
Which is the merchant here, and which the Jew? 170 

Duke. Antonio and old Shylock, both stand forth. 



Scene 1] THE MERCHANT OF VENICE 143 

Por. Is your name Shylock? 

Shy. Shylock is my name. 

Por. Of a strange nature is the suit you follow ; 
Yet in such rule that the Venetian law 
Cannot impugn you, as you do proceed. — 
[To Antonio.] You stand within his danger, do you 
not ? 

Ant. Ay, so he says. 

Por. Do you confess the bond ? 

Ant. I do. 

Por. Then must the Jew be merciful. 

Shy. On what compulsion must I ? tell me that. 

Por. The quality of mercy is not strain'd ; 
It droppeth as the gentle rain from heaven 
Upon the place beneath : it is twice bless'd ; 
It blesseth him that gives, and him that takes : 
'Tis mightiest in the mightiest ; it becomes 
The throned monarch better than his crown ; 
His sceptre shows the force of temporal power, 
The attribute to awe and majesty, 
Wherein doth sit the dread and fear of kings : 
But mercy is above this sceptred sway, 
It is enthroned in the hearts of kings, 
It is an attribute to God himself ; 
And earthly power doth then show likest God's 



144 THE MERCHANT OF VENICE [Act IV 

When mercy seasons justice. Therefore, Jew, 
Though justice be thy plea, consider this — 
That in the course of justice none of us 
Should see salvation : we do pray for mercy ; 
And that same prayer doth teach us all to render 
The deeds of mercy. I have spoke thus much 
To mitigate the justice of thy plea ; 
200 Which if thou follow, this strict court of Venice 
Must needs give sentence 'gainst the merchant there. 

Shy. My deeds upon my head ! I crave the law, 
The penalty and forfeit of my bond. 

Por. Is he not able to discharge the money? 

Bass. Yes, here I tender't for him in the court ; 
Yea, thrice the sum : if that will not suffice, 
I will be bound to pay it ten times o'er, 
On forfeit of my hands, my head, my heart : 
If this will not suffice, it must appear 
210 That malice bears down truth. And I beseech you, 
Wrest once the law to your authority : 
To do a great right do a little wrong, 
And curb this cruel devil of his will. 

Por. It must not be ; there is no power in Venice 
Can alter a decree established : 
'Twill be recorded for a precedent ; 
And many an error by the same example 



Scene 1] THE MERCHANT OF VENICE 145 

Will rush into the state : it cannot be. 

Shy. A Daniel come to judgment ! yea, a Daniel ! 
O wise young judge, how do I honor thee ! 

Por. I pray you, let me look upon the bond. 

Shy. Here 'tis, most reverend doctor, here it is. 

Por. Shylock, there's thrice thy money offer'd thee. 

Shy. An oath, an oath, I have an oath in heaven : 
Shall I lay perjury upon my soul? 
No, not for Venice. 

Por. Why, this bond is forfeit; 

And lawfully by this the Jew may claim 
A pound of flesh, to be by him cut off 
Nearest the merchant's heart. — Be merciful ; 
Take thrice thy money ; bid me tear the bond. 

Shy. When it is paid according to the tenor. 
It doth appear you are a worthy judge ; 
You know the law, your exposition 
Hath been most sound : I charge you by the law, 
Whereof you are a well-deserving pillar, 
Proceed to judgment : by my soul I swear 
There is no power in the tongue of man 
To alter me : I stay here on my bond. 

A nt. Most heartily I do beseech the court 
To give the judgment. 

Por. Why, then, thus it is : : 



146 THE MERCHANT OF VENICE [Act IV 

You must prepare your bosom for his knife. 

Shy. O noble judge ! O excellent young man ! 

Por. For the intent and purpose of the law 
Hath full relation to the penalty 
Which here appeareth due upon the bond. 

Shy. 'Tis very true : O wise and upright judge ! 
How much more elder art thou than thy looks ! 

Por. Therefore, lay bare your bosom. 

Shy. Ay, his breast : 

So says the bond; — doth it not, noble judge? — 
250 Nearest his heart, those are the very words. 

Por. It is so. Are there balance here to weigh the 
flesh? 

Shy. I have them ready. 

Por. Have by some surgeon, Shylock, on your 
charge, 
To stop his wounds, lest he do bleed to death. 

Shy. Is it so nominated in the bond ? 

Por. It is not so expressed; but what of that? 
'Twere good you do so much for charity. 

Shy. I cannot find it ; 'tis not in the bond. 

Por. Come, merchant, have you anything to say? 
260 Ant. But little; I'm arm'd and well prepared. — 
Give me your hand, Bassanio : fare you well ! 
Grieve not that I am fallen to this for you ; 



Scene 1] THE MERCHANT OF VENICE 147 

For herein fortune shows herself more kind 

Than is her custom : it is still her use 

To let the wretched man outlive his wealth, 

To view with hollow eye, and wrinkled brow, 

An age of poverty ; from which lingering penance 

Of such misery doth she cut me off. 

Commend to me your honorable wife : 

Tell her the process of Antonio's end, 270 

Say how I loved you, speak me fair in death ; 

And, when the tale is told, bid her be judge 

Whether Bassanio had not once a love. 

Repent not you that you shall lose your friend, 

And he repents not that he pays your debt ; 

For if the Jew do cut but deep enough 

I'll pay it instantly with all my heart. 

Bass. Antonio, I am married to a wife 
Which is as dear to me as life itself ; 
But life itself, my wife, and all the world 280 

Are not with me esteem'd above thy life ; 
I would lose all, ay, sacrifice them all 
Here to this devil to deliver you. 

Par. Your wife would give you little thanks for 
that, 
If she were by, to hear you make the offer. 

Gra. I have a wife, whom I protest I love ; 



148 THE MERCHANT OF VENICE [Act IV 

I would she were in heaven, so she could 
Entreat some power to change this currish Jew. 

Ner. 'Tis well you offer it behind her back ; 
290 The wish would make else an unquiet house. 

Shy. [Aside.'] These be the Christian husbands : I 
have a daughter ; 
Would any of the stock of Barrabas 
Had been her husband rather than a Christian ! — 
We trifle time ; I pray thee pursue sentence. 

Por. A pound of that same merchant's flesh is thine ; 
The court awards it, and the law doth give it. 

Shy. Most rightful judge ! 

Por. And you must cut this flesh from off his 
breast ; 
The law allows it, and the court awards it. 

Shy. Most learned judge ! — A sentence ; come, pre- 
300 pare. 

Por. Tarry a little ; — there is something else. — 
This bond doth give thee here no jot of blood ; 
The words expressly are a pound of flesh : 
Take then thy bond, take thou thy pound of flesh ; 
But, in the cutting of it, if thou dost shed 
One drop of Christian blood, thy lands and goods 
Are, by the laws of Venice, confiscate 
Unto the state of Venice. 




Por. — "Tarry a little; there is something else. 
This bond doth give thee here no jot of blood." 



Scene 1] THE MERCHANT OF VENICE 149 

Gra. O upright judge ! — Mark, Jew ! — O learned 
judge ! 

Shy. Is that the law ? 

Por. Thyself shall see the act : 310 

For, as thou urgest justice, be assured 
Thou shalt have justice, more than thou desirest. 

Gra. O learned judge ! — Mark, Jew ; — a learned 
judge ! 

Shy. I take this offer, then, — pay the bond thrice, 
And let the Christian go. 

Bass. Here is the money. 

Por. Soft! 
The Jew shall have all justice ; — soft ; — no haste ; — 
He shall have nothing but the penalty. 

Gra. O Jew ! an upright judge, a learned judge ! 

Por. Therefore prepare thee to cut off the 
flesh. 320 

Shed thou no blood,; nor cut thou less nor more 
But just a pound of flesh : if thou tak'st more 
Or less than a just pound, — be it but so much 
As makes it light or heavy in the substance 
Or the division of the twentieth part 
Of one poor scruple, — nay, if the scale do turn 
But in the estimation of a hair, — 
Thou diest, and all thy goods are confiscate. 



150 THE MERCHANT OF VENICE [Act IV 

Gra. A second Daniel, a Daniel, Jew ! 
330 Now, infidel, I have thee on the hip. 

Por. Why doth the Jew pause ? take thy forfeiture. 

Shy. Give me my principal, and let me go. 

Bass. I have it ready for thee ; here it is. 

Por. He hath refused it in the open court ; 
He shall have merely justice and his bond. 

Gra. A Daniel, still say I ; a second Daniel ! — 
I thank thee, Jew, for teaching me that word. • 

Shy. Shall I not have barely my principal ? 

Por. Thou shalt have nothing but the forfeiture, 
340 To be so taken at thy peril, Jew. 

Shy. Why, then the devil give him good of it ! 
I'll stay no longer question. 

Por. Tarry, Jew ; * 

The law hath yet another hold on 3^011. 
It is enacted in the laws of Venice, — 
If it be proved against an alien 
That by direct or indirect attempts 
He seek the life of any citizen, 
The party 'gainst the which he doth contrive 
Shall seize one half his goods ; the other half 
350 Comes to the privy coffer of the state ; 
And the offender's life lies in the mercy 
Of the duke only, 'gainst all other voice, 



Scene 1] THE MERCHANT OF VENICE 151 

In which predicament, I say thou stand'st ; 
For it appears by manifest proceeding, 
That indirectly and directly too 
Thou hast contrived against the very life 
Of the defendant ; and thou hast incurr'd 
The danger formerly by me rehearsed. 
Down, therefore, and beg mercy of the duke. 

Gra. Beg that thou mayst have leave to hang thyself : 360 
And yet, thy wealth being forfeit to the state, 
Thou hast not left the value of a cord ; 
Therefore thou must be hang'd at the state's charge. 

Duke. That thou shalt see the difference of our 
spirit, 
I pardon thee thy life before thou ask it : 
For half thy wealth, it is Antonio's ; 
The other half comes to the general state, 
Which humbleness may drive unto a fine. 

Por. Ay, for the state ; not for Antonio. 

Shy. Nay, take my life and all, pardon not that : 370 
You take ray house when you do take the prop 
That doth sustain my house : you take my life 
When you do take the means whereby I live. 

Por. What mercy can you render him, Antonio? 

Gra. A halter gratis ; nothing else, for God's sake. 

Ant- So please my lord the duke and all the court 



152 THE MERCHANT OF VENICE [Act IV 

To quit the fine for one half of his goods 
I am content, so he will let me have 
The other half in use, to render it, 
380 Upon his death, unto the gentleman 
That lately stole his daughter ; 
Two things provided more, — that, for this favor, 
He presently become a Christian ; 
The other, that he do record a gift, 
Here in the court, of all he dies possess'd, 
Unto his son Lorenzo and his daughter. 

Duke. He shall do this ; or else T do recant 
The pardon that I late pronounced here. 

Por. Art thou contented, Jew ; what dost thou say? 

Shy. I am content. 
390 Por. Clerk, draw a deed of gift. 

Shy. I pray you give me leave to go from hence : 
I am not well ; send the deed after me 
And I will sign it. 

Duke. Get thee gone, but do it. 

Gra. In christening, thou shalt have two god- 
fathers ; 
Had I been judge, thou shouldst have had ten more, 
To bring thee to the gallows, not the font. 

[Exit Shylock. 

Duke. Sir, I entreat you with me home to dinner. 



Scene 1] THE MERCHANT OF VENICE 153 

Por. I humbly do desire your grace of pardon. 
I must away this night toward Padua ; 
And it is meet I presently set forth. 400 

Duke. I am sorry that your leisure serves you not. 
Antonio, gratify this gentleman ; 
For, in my mind, you are much bound to him. 

[Exeunt Duke, Magnificoes, and Train. 

Bass. Most worthy gentleman, I and my friend 
Have by your wisdom been this day acquitted 
Of grievous penalties ; in lieu whereof, 
Three thousand ducats, due unto the Jew, 
We freely cope your courteous pains withal. 

Ant. And stand indebted, over and above, 
In love and service to you evermore. 410 

Por. He is well paid that is well satisfied : 
And I, delivering you, am satisfied 
And therein do account myself well paid ; 
My mind was never yet more mercenary. 
I pray you, know me when we meet again ; 
I wish you well, and so I take my leave. 

Bass. Dear sir, of force I must attempt you further ; 
Take some remembrance of us as a tribute, 
Not as a fee : grant me two things, I pray you, 
Not to deny me, and to pardon me. 42Q 

Por. You press me far, and therefore. I will yield. 



154 THE MERCHANT OF VENICE [Act IV 

[To Ant.] Give me your gloves, I'll wear them for 

your sake ; 
[To Bass.] And, for your love, I'll take this ring 

from you : — 
Do not draw back your hand ; I'll take no more ; 
And you in love shall not deny me this. 

Bass. This ring, good sir, — alas, it is a trifle ; 
I will not shame myself to give you this. 

Por. I will have nothing else but only this ; 
And now, methinks, I have a mind to it. 

Bass. There's more depends on this than on the 
430 value. 

The dearest ring in Venice will I give you, 
And find it out by proclamation ; 
Only for this, I pray you, pardon me. 

Por. I see, sir, you are liberal in offers : 
You taught me first to beg: and now, methinks, 
You teach me how a beggar should be answer'd. 

Bass. Good sir, this ring was given me by my wife ; 
And, when she put it on, she made me vow 
That I should neither sell nor give nor lose it. 

Por. That 'scuse serves many men to save their 
440 gifts. 

An if your wife be not a mad-woman 

And know how well I have deserved this ring, 



Scene 2] THE MERCHANT OF VENICE 155 

She would not hold out enemy forever 

For giving it to me. Well, peace be with you ! 

[Exeunt Portia and Nerissa. 

A nt. My lord Bassanio, let him have the ring ; 
Let his deservings and my love withal 
Be valued 'gainst your wife's command (e)ment. 

Bass. Go, Gratiano, run and overtake him ; 
Give him the ring, and bring him, if thou canst, 
Unto Antonio's house : — away, make haste. 450 

[Exit Gratiano. 
Come, you and I will hither presently ; 
And in the morning early will we both 
Fly toward Belmont : come, Antonio. [Exeunt. 



Scene II 

Venice. A Street 

Enter Portia and Nerissa 

Por. Inquire the Jew's house out, give him this 
deed 
And let him sign it ; we'll away to-night 
And be a day before our husbands home : 
This deed will be well welcome to Lorenzo. 



156 THE MERCHANT OF VENICE [Act IV 

Enter Gratiano 

Gra. Fair sir, you are well o'erta'en : 
My Lord Bassairio upon more advice 
Hath sent you here this ring ; and doth entreat 
Your company at dinner. 

Por. That cannot be : 

His ring I do accept most thankfully, 
10 And so, I pray you, tell him : furthermore, 
I pray you, show my youth old Shylock's house. 

Gra. That will I do. 

Ner. [To Portia.] Sir, I would speak with you : — 
[Aside.] I'll see if I can get my husband's ring, 
Which I did make him swear to keep forever. 

Por. [Aside to Nerissa.] Thou mayst, I warrant. 
We shall have old swearing 
That they did give the rings away to men; 
But we'll outface them, and outswear them too.^- 
Away, make haste ; thou know'st where I will tarry. 

Ner. Come, good sir, will you show me to this 
house? [Exeunt. 



Scene 1] THE MERCHANT OF VENICE 157 



ACT V 

Scene I 

Belmont. Pleasure-grounds of Portia's House 

Enter Lorenzo and Jessica 

Lor. The moon shines bright : — in such a night 
as this, 
When the sweet wind did gently kiss the trees, " 
And they did make no noise, — in such a night, 
Troilus, methinks, mounted the Trojan walls, 
And sigh'd his soul toward the Grecian tents, 
Where Cressid lay that night. 

Jes. In such a night 

Did Thisbe fearfully o'ertrip the dew, 
And saw the lion's shadow ere himself, 
And ran dismay'd away. 

Lor. In such a night 

Stood Dido with a willow in her hand 10 

Upon the wild sea-banks, and waft her love 
To come again to Carthage. 

Jes. In such a night 



158 THE MERCHANT OF VENICE [Act V 

Medea gather'd the enchanted herbs 
That did renew old iEson. 

Lor. In such a night 

Did Jessica steal from the wealthy Jew ; 
And with an unthrift love did run from Venice 
As far as Belmont. 

Jes. In such a night 

Did young Lorenzo swear he loved her well, 
Stealing her soul with many vows of faith 
And ne'er a true one. 
20 Lor. In such a night 

Did pretty Jessica, like a little shrew, 
Slander her love, and he forgave it her. 

Jes. I would out-night you, did no body come : 
But, hark, I hear the footing of a man. 

Enter Stephano 

Lor. Who comes so fast in silence of the night? 

Steph. A friend. 

Lor. A friend? what friend? your name, I pray 

you, friend? 
Steph. Stephano is my name ; and I bring word 
My mistress will before the break of day 
30 Be here at Belmont ; she doth stray about 
By holy crosses, where she kneels and prays 



Scene 1] THE MERCHANT OF VENICE 159 

For happy wedlock hours. 

Lor. Who comes with her ? 

Steph. None but a holy hermit and her maid. 
T pray you, is my master yet return 'd ? 

Lor. He is not, nor we have not heard from him. — 
But go we in, I pray thee, Jessica, 
And ceremoniously let us prepare 
Some welcome for the mistress of the house. 

Enter Launcelot 

Laun. Sola, sola, wo ha, ho, sola, sola ! 

Lor. Who calls ? 40 

Laun. Sola ! Did you see master Lorenzo and mis- 
tress Lorenzo? sola, sola! 

Lor. Leave hollaing, man ; here. 

Laun. Sola ! Where ? where ? 

Lor. Here. 

Laun. Tell him there's a post come from my mas- 
ter, with his horn full of good news ; my master will 
be here ere morning. [Exit. 

Lor. Sweet soul, let's in, and there expect their 
coming. 
And yet no matter : — why should we go in ? 50 

My friend Stephano, signify, T pray you, 
Within the house, your mistress is at hand : 



160 THE MERCHANT OF VENICE [Act V 

And bring your music forth into the air. 

[Exit Stephano. 
How sweet the moonlight sleeps upon this bank ! 
Here will we sit and let the sounds of music 
Creep in our ears ; soft stillness and the night 
Become the touches of sweet harmony. 
Sit, Jessica. Look how the floor of heaven 
Is thick inlaid with patines of bright gold. 
60 There's not the smallest orb which thou behold'st 
But in his motion like an angel sings, 
Still quiring to the young-eyed cherubins : 
Such harmony is in immortal souls ; 
But whilst this muddy vesture of decay 
Doth grossly close it in, we cannot hear it. — 

Enter Musicians 

Come, ho, and wake Diana with a hymn ; 
With sweetest touches pierce your mistress' ear 
And draw her home with music. [Music. 

Jes. I am never merry when I hear sweet music. 
70 Lor. The reason is, your spirits are attentive : 
For do but note a wild and wanton herd, 
Or race of youthful and unhandled colts, 
Fetching mad bounds, bellowing and neighing loud, 
Which is the hot condition of their blood ; 



Sce*e 1] THE MERCHANT OF VENICE 161 

If they but hear perchance a trumpet sound, 

Or any air of music touch their ears, 

You shall perceive them make a mutual stand, 

Their savage eyes turn'd to a modest gaze 

By the sweet power of music. Therefore the poet 

Did feign that Orpheus drew trees, stones, and 

floods ; 80 

Since nought so stockish, hard, and full of rage, 
But music for the time doth change his nature. 
The man that hath no music in himself, 
Nor is not moved with concord of sweet sounds, 
Is fit for treasons, stratagems, and spoils ; 
The motions of his spirit are dull as night, 
And his affections dark as Erebus : 
Let no such man be trusted. — Mark the music. 

Enter Portia and Nerissa at a distance 

Par. That light we see is burning in my hall. 
How far that little candle throws his beams ! 90 

So shines a good deed in a naughty world. 

Ner. "When the moon shone, we did not see the 
candle. 

Por. So doth the greater glory dim the less ; 
A substitute shines brightly as a king 
Until a king be by ; and then his state 



162 THE MERCHANT OF VENICE [Act V 

Empties itself, as doth an inland brook 
Into the main of waters. Music ! hark ! 

Ner. It is your music, madam, of the house. 

Por. Nothing is good, I see, without respect ; 
100 Methinks it sounds much sweeter than by day. 

Ner. Silence bestows that virtue on it, madam. 

Por. The crow doth sing as sweetly as the lark 
When neither is attended ; and I think 
The nightingale, if she should sing by day, 
When every goose is cackling, would be thought 
No better a musician than the wren. 
How many things by season season'd are 
To their right praise and true perfection ! — 
Peace, ho ! — the moon sleeps with Endymion 
And would not be awaked ! [Music ceases. 

110 Lor. That is the voice, 

Or am I much deceived, of Portia. 

Por. He knows me, as the blind man knows the 
cuckoo, 
By the bad voice. 

Lor. Dear lady, welcome home. 

Por. We have been praying for our husbands' 
welfare, 
Which speed, we hope, the better for our words. 
Are they return'd ? 



Scene 1] THE MERCHANT OF VENICE 163 

Lor. Madam, they are not yet ; 

But there is come a messenger before, 
To signify their coming. 

Por. Go in, Nerissa ; 

Give order to my servants, that they take 
No note at all of our being absent hence ; 120 

Nor you, Lorenzo : — ■ Jessica, nor you. 

\_A tucket sounds. 

Lor. Your husband is at hand ; I hear his trumpet : 
We are no tell-tales, madam ; fear you not. 

Por. This night, me thinks, is but the daylight 
sick. 
It looks a little paler ; 'tis a day 
Such as the day is when the sun is hid. 

Enter Bassanio, Antonio, Gratiano, and their 
Followers 

Bass. We should hold day with the antipodes, 
If you would walk in absence of the sun. 

Por. Let me give light, but let me not be light ; 
For a light wife doth make a heavy husband, 130 

And never be Bassanio so for me ; 
But God sort all ! — You are welcome home, my lord. 

Bass. I thank you, madam : give welcome to my 
friend. — 



164 THE MERCHANT OF VENICE [Act V 

This is the man, this is Antonio, 
To whom I am so infinitely bound. 

Por. You should in all sense be much bound to 
him, 
For, as I hear, he was much bound for you. 

Ant. No more than I am well acquitted of. 

Por. Sir, you are very welcome to our house : 
140 It must appear in other ways than words, 
Therefore I scant this breathing courtesy. 

[Gratiano and Nerissa seem to talk apart. 

Gra. By yonder moon I swear you do me wrong ; 
In faith, I gave it to the judge's clerk. 

Por. A quarrel, ho, already ? what's the matter ? 

Gra. About a hoop of gold, a paltry ring 
That she did give me ; whose posy was, 
For all the world like cutler's poetry 
Upon a knife, Love me, and leave me not. 

Ner. What talk you of the posy, or the value? 
150 You swore to me, when I did give it you, 

That you would wear it till your hour of death ; 
And that it should lie with you in your grave : 
Though not for me, yet for your vehement oaths, 
You should have been respective and have kept it. 
Gave it a judge's clerk ! — but well I know 
The clerk will ne'er wear hair on's face that had it. 



w 




166 THE MERCHANT OF VENICE [Act V 

Gra. He will, an if he live to be a man. 

Ner. Ay, if a woman live to be a man. 

Gra. Now, by this hand, T gave it to a youth, — 
160 A kind of boy ; a little scrubbed boy, 
No higher than thyself, the judge's clerk ; 
A prating boy, that begg'd it as a fee ; 
I could not for my heart deny it him. 

Por. You were to blame, I must be plain with you, 
To part so slightly with your wife's first gift ; 
A thing stuck on with oaths upon your finger, 
And riveted with faith unto your flesh. 
I gave my love a ring and made him swear 
Never to part with it ; and here he stands, — 
170 1 dare be sworn for him he would not leave it 
Nor pluck it from his finger, for the wealth 
That the world masters. Now, in faith, Gratiano, 
You give your wife too unkind cause of grief ; 
An't were to me, I should be mad at it. 

Bass. \_Aside.~] Why, I were best to cut my left hand 
off 
And swear I lost the ring defending it. 

Gra. My lord Bassanio gave his ring away 
Unto the judge that begg'd it and, indeed, 
Deserved it too ; and then the boy, his clerk 
180 That took some pains in writing, he begg'd mine : 



Scene 1] THE MERCHANT OF VENICE 16' 

And neither man nor master would take aught 
But the two rings. 

Por. What ring gave you, my lord ? 

Not that, I hope, which you received of me. 

Bass. If I could add a lie unto a fault, 
I would deny it ; but you see my finger 
Hath not the ring upon it, it is gone. 

Por. Even so void is your false heart of truth. 
By heaven, I will never be your wife 
Until I see the ring. 

Ner. No, nor I yours, 

Till I again see mine. 

Bass. Sweet Portia, 

If you did know to whom I gave the ring, 
If you did know for whom I gave the ring, 
And would conceive for what I gave the ring, . 
And how unwillingly I left the ring, 
When naught would be accepted but the ring, 
You would abate the strength of your displeasure. 

Por. If you had known the virtue of the ring, 
Or half her worthiness that gave the ring, 
Or your own honor to contain the ring, 
You would not then have parted with the ring. 
What man is there so much unreasonable, 
If you had pleased to have defended it 



168 THE MERCHANT OF VENICE [Act V 

With any terms of zeal, wanted the modesty 
To urge the thing held as a ceremony ? 
Nerissa teaches me what to believe ; 
I'll die for't but some woman had the ring. 

Bass. No, by mine honor, madam, by my soul, 
No woman had it, but a civil doctor, 
Which did refuse three thousand ducats of me, 
210 And begg'd the ring ; the which I did deny him, 
And suffer'd him to go displeased away ; 
Even he that did uphold the very life 
Of my dear friend. What should I say, sweet lady? 
I was enforced to send it after him ; 
I was beset with shame and courtesy ; 
My honor would not let ingratitude 
So much besmear it ; pardon me, good lady ; 
For, by these blessed candles of the night, 
Had you been there, I think, you would have begg'd 
220 The ring of me to give the worthy doctor. 

Por. Let not that doctor e'er come near my house : 
Since he hath got the jewel that I loved, 
And that which you did swear to keep for me, 
I will become as liberal as you : 
I'll not deny him anything I have. 

Ner. And I his clerk ; therefore be well advised, 
How you do leave me to mine own protection. 



Scene lj THE MERCHANT OF VENICE 169 

Gra. Well, do you so : let not me take him then ; 
For, if I do, I'll mar the young clerk's pen. 

Ant. I am the unhappy subject of these quarrels. 230 

Por. Sir, grieve not you ; you are welcome notwith- 
standing. 

Bass. Portia, forgive me this enforced wrong ; 
And, in the hearing of these many friends, 
I swear to thee, even by thy own fair eyes, 
Wherein I see myself, — 

Por. Mark you but that ! 

In both my eyes he doubly sees himself : 
In each eye one : — swear by your double self, 
And there's an oath of credit. 

Bass. Nay, but hear me : 

Pardon this fault, and by my soul I swear 
I never more will break an oath with thee. 240 

Ant. I once did lend my body for his wealth ; 
Which, but for him that had your husband's ring, 
Had quite miscarried : I dare be bound again, 
My soul upon the forfeit, that your lord 
Will never more break faith advisedly. 

Por. Then you shall be his surety. Give him this ; 
And bid him keep it better than the other. 

Ant. Here, lord Bassanio ; swear to keep this ring. 

Bass. By heaven, it is the same I gave the doctor ! 



170 THE MERCHANT OF VENICE [Act V 

250 Por. I had it of him : pardon me, Bassanio. 

Ner. And pardon me, my gentle Gratiano. 

Gra. Why, this is like the mending of highways 
In summer, where the ways are fair enough. 

Por. You are all amazed : 
Here is a letter, read it at your leisure ; 
It comes from Padua, from Bellario : 
There you shall find that Portia was the doctor ; 
Nerissa there her clerk : Lorenzo here 
Shall witness I set forth as soon as you 
260 And but e'en now return'd ; I have not yet 

Enter'd my house. — Antonio, you are welcome ; 
And I have better news in store for you 
Than you expect : unseal this letter soon ; 
There you shall find three of your argosies 
Are richly come to harbor suddenly : 
You shall not know by what strange accident 
I chanced on this letter. 

Ant. I am dumb. 

Bass. Were you the doctor and I knew you not ? 

Ant. Sweet lady, you have given me life and living ; 
270 For here I read for certain that my ships 
Are safely come to road. 

Por. How now, Lorenzo ? 

My clerk hath some good comforts too for you. 



Scene 1] THE MERCHANT OF VENICE 171 

Ner. Ay, and I'll give them him without a fee. — 
There do I give to you and Jessica, 
From the rich Jew, a special deed of gift, 
After his death, of all he dies possessed of. 

Lor. Fair ladies, you drop manna in the way 
Of starved people. 

Por. It is almost morning, 

And yet, I am sure, yon are not satisfied 
Of these events at full. Let us go in ; 280 

And charge us there upon inter 'gatories, 
And we will answer all things faithfully. 

Gra. Well, while I live, I'll fear no other thing 
So sore as keeping safe Nerissa's ring. 

[Exeunt. 



NOTES 



The following 1 contractions are used in the notes: Cf. = confer (com- 
pare) ; Cogs. = cognates ; Gr. = Greek ; Lat. = Latin ; N. E. = Northern 
English; N. Fr. = Norman French; O. E. =01d English (or Anglo- 
Saxon); CI. P. S. = Clarendon Press Series; and Co. S. = Collins' s 
Series. Notes without quotation marks or without name appended 
are Professor Meiklejohn's. 



ACT FIRST 

Scene 1 

" In this first scene, we view Antonio ' rich, liberal, sur- 
rounded with friends ; yet he is unhappy. . . . He will not 
acknowledge the foreboding of evil which comes across 
his mind.' — Knight. We are shown the causes of the 
drama's action ; Bassanio's courtship of Portia, and Anto- 
nio's generous love for his friend." 

1. Sooth, truth. We have the compounds forsooth (used 
both seriously and ironically), soothfast, and soothsayer 
(prophet) ; and Shakespeare has the phrases, in good sooth 
and in very sooth. In Richard II. (III. iii.), we find 
words of sooth for kindly words of assent. Sad. Cole- 
ridge points out that this speech of Antonio's gives the 
key-note of the play ; the coming disaster casts a shadow 
over the prosperous merchant. 

2. Wearies, from O. E. werig. 4. Stuff, in the old 

173 



174 NOTES [Act I 

sense of material. So Julius Csesar (III. ii. 97) : ' Ambi- 
tion should be made of sterner stuff;' and Tempest (IV. 
i. 156) : ' We are such stuff as dreams are made on.' 

6. Want-wit, idiot, wit being used in the older meaniDg 
of ability or sense. Wan (which is a cognate of want and 
wane) was in 0. E. a common prefix ; thus we had wan- 
hope for despair ; wantrust (mistrust), etc. 

9. Argosies. Argo was the name of the ship which 
carried Jason to Colchis, and hence became a favorite 
name for vessels. Argis was the Low Latin for a large 

merchant vessel. 10. Signiors. The Italian way of 

spelling the Latin senior, an elder. The g comes in through 
the combination of n and i, as in stranger, from extraneus. 

Burghers, townsmen ('freemen of a burgh'), of less 

high rank than the signiors. 

11. Pageants. This word originally meant the movable 
platform on which mystery plays were performed. It comes 
from Low Lat. compaginata (jointed together). 'In calling 
argosies pageants, Shakespeare alludes to the enormous 
machines in the shapes of castles, dragons, giants, etc., that 
were drawn about the streets in the ancient shows or pag- 
eants.' 12. Overpeer. Pore is a cognate of peer. 

13. Them, the dative. 

15. Venture, risk, or what is risked. Venture was, in 
Shakespeare's time, the technical term for a cargo ; so the 
merchants of Bristol called themselves ' Merchant Adven- 
turers.' Forth, out. See also line 143 of this scene; 

and Shylock's (II. v. 11) : 'I am bid forth to supper.' So 
Othello (V. i.): 'Forth! my sword.' 17. Still, con- 
stantly. So Othello (I. iii.) : 

' And still the house affairs would draw her hence.' 

Shakespeare also uses it as an adjective : Titus Andronicus 
(III. ii.) ; ' And by still practice learn to know the mean- 



Scene 1] NOTES 175 

ing.' 19. Peering in. We should now say poring over. 

Roads, where ships ride. — -21. Out of doubt modifies 
make. 

23. Ague, perhaps from Fr. aigu, Lat. ac-utus, sharp. 
25. Sandy. Cf. Henry VI., Part I. (IV. ii.) : 

' Ere the glass 
Finish the process (the going out) of his sandy hour.' 

Hour-glass. In Shakespeare's time an hour-glass was com- 
monly found in churches, fixed near the pulpit. CI. P. S. 

27. Andrew, a favorite name for large merchant ships, 
probably from the great Genoese admiral, Andrea Doria, 

who died in 1560. 28. Vailing, lowering. Spenser has 

avale, which is said to come from Lat. ad vallem (to the 

valley), as amount is from ad montem (to the height). 

31. Straight, at once. This is the most usual meaning of 

the word in Shakespeare. 33. Stream, current. Cf. 

Gulf Stream. 35. Worth this. Some expressive ges- 
ture must be supposed. 42. Bottom, vessel. 

50. Janus and Jana are old forms of Dianus and Di- 
ana, the sun and moon. Janus opened the year ; and 
hence the first month was called after him. He was the 
porter of heaven, and hence was called Patulous (from 
pateo, I open) and Clusius (from clan do, I shut). He was 
the guardian deity of gates, and, as a gate looks two ways, 
he is represented with two heads. 

54. Vinegar, from Fr. vin aigre (from Lat. vinum acre) . 
55. In way. Cf. Julius Csesar (III. i. 216) : 'In num- 
ber of our friends,' and Three Gentlemen of Verona (I. i.) : 
f In absence of thy friend.' Other omissions of the are 
found in the phrases at door, at palace, at height, in pail, 

etc. 56. Nestor, king of Pylos, and the adviser of the 

Greeks in the Trojan war. Nestor attained a great age and 
was famous for his wisdom. Co. S. 

58. Fare, from O. E. faran, to go. Cogs. : Far^ fare 



176 NOTES [Act I 

(payment), thoroughfare, fieldfare, ferry, ford, welfare, 

farewell. 61. Prevented, anticipated. So, in the 

Prayer-book: 'Prevent us, O Lord, in all our doings.' 

67. Strange. So Twelfth Night (V.): 'You throw 

a strange regard upon me ; ' and Comedy of Errors (II. ii.) : 
'As strange unto your town as to your talk.' It is the 

opposite of familiar. 74. Respect upon, carefulness 

about. Shakespeare generally uses of after respect. Cf. 
Macbeth (III. i. 17): 'Let your highness command upon 

me.' 79. Fool. The Fool was a stock character in all 

the old comedies, and his function was to show the comic 
side of all that was going on upon the stage. 

84. Grandsire. Sire and sir are contracted forms of 
senior. 

85. Jaundice (from Fr. Jaime) was formerly called the 
yellowes. 89. Mantle, used by Shakespeare both transi- 
tively and intransitively. Cf. Tempest (V. 67) : ' The ig- 
norant fumes that mantle their clearer reason.' In the 

present passage the verb is intransitive. 90. Do. The 

nominative who must be supplied out of whose. Still- 
ness, silence. So in this play (V. 56). Entertain = 

maintain. CI. P. S. 

91. Opinion, reputation. Cf. Henry IV., Part I. (III. 
iii.) : ' Opinion, that did help me to the crown ; ' and 
Othello (I. iii.): 'Opinion, a sovereign mistress of suc- 
cess.' 92. Conceit. The most usual meaning of this 

word in Shakespeare is (a) conception or idea ; the next is 
(b) mental power; and (c) the least usual is fanciful 
thought — a meaning which comes nearest to onr modern 
one, which, however, is never employed by Shakespeare. 

93. As who should say = Fr. comme qui dirait. 

94. Ope, short form for open. Its cognates are dup (—do 
up, Hamlet, IV. v. 53), up, oft, offing. 

97-99. This is a difficult passage. It is said to be an 
allusion to Matt. v. 22; and that the meaning is that 



Scene 1] NOTES 177 

these silent conceited persons would, if they spoke, pro- 
voke their hearers to call them fools, and that these hear- 
ers would thus incur the condemnation mentioned in the 
text. A silly speech brings the hearer, in Gratiano's view, 
into danger of perdition, by tempting him to say to his 
brother, ' Thou fool ! ' In Shakespeare a number of thoughts 
jostle each other, become mixed, and lose their identity, 
so that even Shakespeare himself could not have unravelled 
and individualized them. 

101. Bait. Cogs.: Bit, bite. Cf. Lat. mordeo, I bite, 

and Fr. morceau, morsel. 102. Gudgeon, a fish easily 

caught. Co. S. 108. More. Shakespeare has the three 

forms, mo, moe, and more. 110. Gear, stuff; also used 

by Shakespeare in the sense of business. 

123. Disabled, impaired. Used by Shakespeare also in 
the sense of undervalue, in this play, and in As You Like It, 
(IV. i.) : ' Disabling all the benefits of your own country/ 

124. Something-, somewhat. Swelling 4 port. So, 

in this play (III. ii. 275) : ' The magnificoes of greatest port.* 

125. Continuance, of is required. So, in this play 

(IV. i. 385) : ' All he dies possessed.' 126. Make moan 

to = complain about. The O. E. infinitive ended in an ; 
and to was only used with the gerund to lovene = ad aman- 
dum, and to express purpose, as ' He went to find it ' (also 
in some Eng. 'for to find it'). But the Danish usage of at 
influenced and encouraged our employment of to with the 
infinitive ; and in Shakespeare we find it employed with 
many senses. Thus, in this play (IV. i. 431): 'I will not 
shame myself to give you (= by giving you) this ; ' and Rich- 
ard III. (II. ii.) : ' O, who shall hinder me to wail (= from 
wailing) and weep? ' and Romeo and Juliet (V. iii.) : 
' What mean these masterless and gory swords 
To lie (=by lying) discolored by this place of peace ? ' 

127. Rate, from Lat. reor, ratus, reri, to think. Cogs.: 
Ratio, ration; Fr. raison; Eng. reason. 130. Gaged 



178 NOTES [Act I 

(for engaged), pledged. 132. Warranty, Eng. form of 

guarantee. The Norman French, unable to pronounce the 
w, employed a gu ; and the English sometimes substituted 
a w for a g or gu. Cf . war, guerre ; wile, guile ; wise, guise ; 
toarden, guardian ; wardrobe, garderobe ; William, Guil- 

laume ; and others. 136. Still, constantly. It would 

be a very doubtful compliment if Antonio meant up to this 
time. Cf. note on I. i. 17. 

141. His, for its. The word its did not come into general 
use till the end of the seventeenth century. Shakespeare 
died in 1616. Milton, who hardly ever uses it, died in 1674. 
Its, as has been frequently shown, is an improperly formed 
genitive, just as illudius would be. The old third personal 
pronoun was he, heo, hit, where the t is the sign of the 
neuter; and the genitive was his, hire, his. 

142. Advised, careful, considerate. Cf . Henry V. (I. ii.) : 

' While that the armed hand doth fight abroad, 
The advised head defends itself at home.' 

144. Childhood proof, childish test. 146. Wilful, 

reckless. The whole sentence is illogical ; but it is in the 
usual compressed and conversational manner of Shake- 
speare. 148. Self, same. Shakespeare frequently uses 

the word in this sense. Cf. King Lear (I. i. 71) : ' I am 
made of that self metal that my sister is.' 154. .Cir- 
cumstance, beating round about the bush. 

155. Wrong", an old past participle from wring. Cf. 

string , strong . 156. Uttermost, means. An adjective 

is very frequently used for a noun by Shakespeare, and in 
peculiar ways. Thus he uses an adjective to designate a 
single person. In Winter's Tale (I. ii.) : ' He that did be- 
tray the Best' (= Christ) ; Timon (I. i.) : ' 'Tis not enough 
to help the feeble up, but to support him after ; ' and in 
Sonnet lxxviii. 7 : ■ And added feathers to the learned's 
wing.' Again, Shakespeare has an adjective for an abstract 



Scene 2] NOTES 179 

noun. In Venus and Adonis : t A sudden pale usurps her 

cheek.' 160. Prest, ready. Old form of French pret, 

from Low Lat. prasestus, from Lat. prsesto, at once. 

161. Richly left, with a large inheritance. 163. Some- 
times, probably for sometime = at one time, Lat. olim. 

164. Speechless. In his eighth Sonnet, Shakespeare 

calls a song without words 'a speechless song.' 169. 

Suitors, from Fr. suivre, from Lat. sequi, to follow. Cogs. : 
Suit, suite ; sequel, second. 

171. Colchos, more correctly Colchis, a country at the 
east end of the Black Sea, ruled over by King iEetes, who 
possessed the Golden Fleece, guarded by a watchful dragon. 
Jason was sent by his uncle Pelias to fetch the Fleece ; and 
he succeeded by the help of Medea, the daughter of the king. 

172. Quest, from Lat. qusero, qusesitum, quserere, to 

seek. Cogs. : Inquire, require, inquest, request. 174. 

Rival, from Lat. rivus, a stream, persons living on the banks 
of a brook having been believed to have a standing difference 

with each other about water-rights. 175. Presages, 

supply which. The omission of the relative is another mark 
of Shakespeare's conversational style. Cf. Measure for 
Measure (II. ii.) : ' I have a brother is condemned to die ; ' and 
Richard II (II. ii.) : ' The hate of those (who) love not the 

king.' See Abbott, sect. 244. Thrift, success. From 

thrive. Cf. Drive, drift ; draw, draft; shove, shift. 

178. Commodity, property on which I can raise a loan. 

181. Rack'd, stretched. 183. Presently, instantly. 

CI. P. S. 

185. Of my trust. On my credit as a merchant, or on 
personal grounds as a friend. So Shakespeare has of force, 
of no right (we now say of ?*ight) ; and see Hamlet (II. i. 64). 

Scene 2 

" This scene brings before us the plot of the three caskets. 
We learn that, by her father's will, the beautiful Portia is 



180 NOTES [Act I 

bound to accept that man as husband who shall choose the 
right casket. At the end of the scene it is apparent that 
Bassanio's chances of winning the lady were excellent, if his 
fortune depended only on the wishes of the mistress and her 
maid. The lighter side of Portia's character is charmingly 
depicted in this scene." 

1. Troth, an asseveration. The word is a form of truth. 
Troth seems to be truth of character, faithfulness; truth, 
truth of statement. To betroth, is to pledge one's troth. 

3. Sweet, gentle. 6. Surfeit. From Fr. surf aire, 

to overdo. 6. Starve, in O. E. meant to die. Down to 

Chaucer's time (14th century) it retains that meaning. The 
noun starvation is a hybrid, first uttered by a Mr. Dundas, 
a Scotchman and Chancellor of the Exchequer in the middle 

of the last century. 8. Mean, from Lat. medium, through 

Low Lat. medianum, which gave the Fr. moyen. 

15. Easier. Shakespeare frequently uses adjectives as 
adverbs. Thus Macbeth (II. iii. 143) : ' Which the false man 
does easy;' Antony and Cleopatra (II. ii.) : ' 'Tis noble 

spoken.' 16. Twenty = tw a in-tig. Tig is the Danish 

for ten. 21. Reasoning 1 , talk. Cf. Henry V. (III. vii.) : 

' 'Tis a subject for a sovereign to reason on ; ' Cymbeline 
(IV. ii.) : ' I am not very sick, since I can reason of it ; ' and 
II. vii. 27 of this play : ' I reasoned with a Frenchman yester- 
day.' 24. Will. Shakespeare liked a bad pun. So in 

Julius Csesar we have a pun on Rome (pronounced Room) : 

' Now is it Eome indeed, and room enough, 
When her wide walls encircle but one man.' 

26. Nor . . . none. The O. E. custom was to double or 
even quadruple the negative, for the sake of intensity or 
emphasis. Thus Chaucer : — 

' He never yit no vilanye ne saide 
In al his lyf unto no maner wight.' 



Scene 2] NOTES 181 

The Latin use of making the one negative destroy the other 
appears in the 17th century. 

27. Holy, from heal. Cogs. : Health ; (w)hole, (w)hole- 
some ; hail. The w in whole is an error ; as it is in the 
sound of one, and in the provincial ivhoam (home), woak 
(oak), etc. 

29. Devised, appointed by will. From Fr. diviser ; and it 

therefore meant originally to divide. 32. One. A modern 

writer would say by one. 35. Over-name them, in 

modern English, name them over. 37. Level, aim. So 

Richard III. (IV. iv.) : 'Level not to hit their lives.' 

40. Appropriation, acquired excellence. 

43. County, count. A Palatinate was a piece of land 
belonging to the palace (Lat. palatium) , as a personal ap- 
pendage of the king or prince ; and the count of it was the 

County Palatine. 46. The weeping 1 philosopher, 

Heraclitus, in opposition to the laughing philosopher, Democ- 

ritus. 48. Had rather. Had is the O. E. subjunctive, 

and corresponds to the German h'dtte. Rather is compara- 
tive of rathe, early. Cf . Milton's Lycidas : ' And the rathe 

primrose that neglected dies.' 57. Throstle, a form of 

the word thrush. 58. Capering", from Lat. caper, a goat. 

65. Say to. Portia intentionally misunderstands Ner- 

issa. 68. Come into the court, bear me witness. 

69. The English. This is the old usage, still preserved 

in Scotland. So Frenchmen say Le latin ; le grec, etc. 

71. Suited, dressed. A suit of clothes was so called because 

each thing agreed with or ' followed ' another. Doublet, 

coat or jacket. 72. Round hose were those puffed out 

at the top. Bonnet was in Shakespeare's time, as it 

still is in France and Scotland, the name for a man's head- 
dress. Cf. Rich. II. (I. iv.): 'Off goes his bonnet to an 

oyster-wench.' 79. The Frenchman became his 

surety. This is a sly hit at the long-standing alliance 
between the French and the Scotch. Sealed under, 



182 NOTES [Act I 

signed (with his name and seal) the supposed bond signed 

by the Scotchman, but under tbe Scotchman's name. 

84. Drunk. Drunkenness was the usual charge against the 
Germans, or, as they were called in Shakespeare's time, 
Dutchmen. 93. Rhenish, now called hock. Con- 
trary, wrong. 

102. Imposition, conditions imposed. The same idea is 
contained in tax (= taks) and task, which are the same word 

with the & transposed. 103. Sibylla was not a proper 

name. There were several Sibyllae or prophetesses — ten, 
say some — from the Babylonians down to the Tiburtine. 

125. Condition, disposition. 127. Shrive, hear the 

confession of, and absolve. 

Scene 3 

" This scene is very important. By the insight we get into 
the character of Shylock, and by the intimations of the treat- 
ment which he has received at Antonio's hands, we are pre- 
pared to understand the Jew's frightful revenge. Shylock 
hates Antonio as a man, as a merchant who lends money 
without interest, and as a Christian, but he conceals this 
hatred under a friendly mask. When he has the power, he 
will repay his enemy tenfold for his intolerance, the sole 
blot on the merchant's character." 

1. Ducats, from Fr. ducat, a coin issued by a sovereign 

duke. 7. Stead, help. Cf. Two Gentlemen of Verona 

(II. i.) : ' So it steads you, I will write.' Pleasure, fre- 
quently used by Shakespeare as a verb. 12. Good, sound, 

solvent, in much the same sense as the modern phrase, ' as 
good as my word.' In Cymbeline (V. iv.) Shakespeare has 
' as good as promise.' 17. In supposition, in an unreal- 
ized and therefore doubtful form, as they may never come 

to port. 19. Rialto, the Exchange of Venice. 21. 

Squandered, scattered. Cf. As You Like It (II. vii.): 



Scene 3] NOTES 183 

'The squandering glances of the fool.' 27. Bond, from 

bind. Cogs. : Band, bund (Ger.), bundle, bindweed, wood- 
bine (where the d has dropped away), bin, pin, pen, pound 
(an enclosure). 

37. See Matt. viii. 32. 40. Fawning- publican. The 

publicani were the men who bought the right of fanning the 
taxes and tributes due to the Roman government in Syria 
and other Roman provinces, and, like their modern anti- 
types, the Fermiers-generaux of France before the Revolu- 
tion, became very rich, and certainly did not need to fawn. 
But the feeling in Shakespeare's mind probably was that 
the publicans were the persons most hated by the Jews ; and 
thus the term would naturally occur to a Jew in a passion. 

44. Usance, interest, payment for the use of money. 

The word occurs also in line 100. 

45. To catch upon the hip and throw him — a phrase 

taken from the practice of wrestling. 46. Ancient, of 

long standing. This is the most frequent meaning in Shake- 
speare. Grudge. In O. E. grucch — evidently onomato- 

poetic. 47. Rails. Cog.: Bally. 

50. Interest. Everything relating to money-lending was. 
looked upon in the Middle Ages as disgraceful ; and words 
like usury and interest carried with them a sense of repro- 
bation. Usury still has that sense, but interest has lost it. 

53. Near, coming as close as mere memory can bring 

me, without consulting my books. 54. Gross, connected 

with Low Latin grossus, but probably from German gross — 
the High German form of the Low German (or English) 
great, another form of which is groat. A groat is a great 
penny, like Ger. grosschen. 

56. Tubal. Money-lenders, since the earliest ages, have 
always hunted in couples. Dickens, in his David Copper- 
field, typifies the class in Messrs. Spenlow & Jorkins. 

62. Ripe wants, wants come to maturity, and requiring 
immediate satisfaction. Cf . ' My thoughts are ripe in mis- 



184 NOTES [Act L, Scene 3 

chief {Twelfth Night, V.) ; 'Ripe revenue,' etc. 63. 

Possess'd, fully informed. 

68. Methought = it thought me, it seemed to me. There 
were two verbs, the intransitive thincan, to seem, and the 

transitive thencan, to think. Were compromised, 

had made an agreement. Co. S. Eanlings, lambs just 

dropped. Co. S. 96. Beholding-, beholden. Beholding 

occurs nineteen times in Shakespeare; beholden never once. 
Dr. Abbott thinks ' Shakespeare fancied that ing was equiva- 
lent to en, the old affix of the past participle.' 

101. Badge, said to be a dialectic form of patch. 103. 

Gaberdine, Ital. gavardina, a long coarse smock-frock. 
The word occurs again in the Tempest (II. ii. 40). 

108. Void, adjective used as a verb. See Dr. Abbott, sect. 

290. 109. Foot, a noun used as a verb. The same set 

of causes produced this grammatical usage. Shakespeare 
has ' barns a harvest ; ' ' Such stuff as madmen tongue and 
brain not' (chatter about but cannot think) (Cymbeline, V. 
iv.) ; 'to disaster,' 'to knee,' 'to lesson,' 'to malice,' 'to 

wage,' etc. Spurn, to strike with the spur or heel. It 

seems to come from O. E. speornan, to kick against, Lat. 
spernere ; and spur is to incite to pursuit. Spoor in Cape 
of Good Hope is Dutch for heel-mark or trace. The idea of 
contempt in spurn is therefore secondary. 

125. A breed of = interest for. 127. Who, if he 

break. The rvho is a nominative without a verb. This is 

called by grammarians the nominativus pendens. 131. 

Doit is the English way of writing the German Deut (pro- 
nounced doit), a small coin. 135. Notary, a law-officer 

who notes, or marks, or certifies deeds and other law writ- 
ings. 136. Single, with your own name only, without 

any other names as additional sureties. 

139. Condition, agreement. Forfeit, from Low Latin 

forisfacere, to put out of doors, or outlaw ; and hence, ap- 
plied to property, to lose. 140. Equal, exact. Cf. Meas- 



'Act II., Scene 1] NOTES 185 

urefor Measure (II. iv.) : ' The equal poise of sin and charity.' 

Nominated for, specified as. CI. P. S. 146. Dwell, 

continue. Cf . Henry VIII. (III. ii.) : ' He should still dwell 

in his musings.' 158. Muttons, beefs. Here Shylock 

uses the N. Fr. words instead of the English sheep and oxen. 
Perhaps Shakespeare employed these words to give a quaint 
and foreign flavor to Shylock's talk. 

159. Extend, offer. 161. For my love, for my love's 

sake. 166. Fearful, in the sense of to be feared for. See 

Dr. Abbott, sect. 3, who gives dreadful = awe-struck ; ter- 
rible = frightened ; 'a careless trifle' (= not worth caring 
for), and others. 

170. Villain's mind, the meaning (meaning is a cognate 
of mind) which a villain puts into the seemingly very fair 
terms. 

ACT SECOND 

Scene 1 

"This scene explains the story of the caskets more fully. 
We are told that he who chooses wrongly is ' never to speak 
to lady afterward in way of marriage,' a provision well 
calculated to keep down the number of suitors." 

1. Mislike, found three times in Shakespeare. 2. 

Livery, from Fr. livrer, to give or deliver. Der. livery- 
man ; livery stable, a stable where horses are kept at livery , 
i.e., at a certain rate or on a certain allowance. In Milton's 
time (1608-1674) the word livery had not its present degraded 

meaning. 5. Icicle, O. E. isesgicel, a cone of ice. The 

ending icle has, therefore, nothing to do with the Latin end- 
ing icle in particle, etc., which is from Lat. icula. 

9. Fear'd, terrified. Shakespeare frequently uses an in- 
transitive verb as a transitive. Cf. Henry VI., Part II. 

(III. ii.) : 'Thy flinty heart might perish Margaret.' 12. 

Thoughts, affection. 14. Nice, fastidious. 



186 NOTES [Act II 

16. Bars, excludes, debars. 17. Scanted, straitened 

or limited. Cf . Henry V. (II. iv.) : ' Spoil his coat with 
scanting a little cloth.' And Shakespeare has such phrases 
as ' to scant excess,' ' to scant our former leaving,' ' to scant 
obedience ' {King Lear, I. i. 281) , and ' to scant her duty.' 

19. His . . . who. The antecedent to who must be found 

in his. This is very common in Shakespeare. 20. Stood 

= would have stood. 25. Sophy, the ' common name for 

the emperor of Persia.' 26. Fields of, battles from. 

Solyman, the Eastern form of Solomon. Modern Ger. and 
Eng. forms are Seligman and Silliman. Solyman the Mag- 
nificent fought against the Persians in 1535. 31. "While, 

the O. E. hwile meant a space of time. It is used as a noun, 
a conjunctive adverb, and as a verb. 

32. Lichas was the page who brought to Hercules the 

poisoned shirt from Dejanira. 35. Alcides, the son of 

Alceus = Hercules. Ides was the Greek patronymic — like 
son, Mac (Gaelic), vitch (in Russian), and ski (in Polish). 
42. Advised, careful and not attempt. 

Scene 2 

" This amusing scene shows us another view of Shylock's 
character. Launcelot's conscience cannot persuade him to 
remain longer with such a master. Later in the scene we 
are prepared for Gratiano's courtship of Nerissa, and get 
otir first knowledge of the masque which serves in a future 
scene for the escape of Jessica." 

9. Heels, the part for the whole. Cf. .4.9 You Like It 

(III. ii.) : ' Your wit was made of Atalanta's heels.' 10. 

Via ! Italian (from Lat. via, a way) for Be off 21. The 

mark. Perhaps the mark of the cross. 33. Sand-blind 

= purblind. Perhaps, says Mr. Wright, a corruption of 
O. E. sam (=Lat. semi), half. 

31. Launcelot all through uses learned and Latinized terms, 



Scene 2] NOTES 187 

and constantly makes mistakes in them ; thus confusions 
is for conclusions. 40. Marry, an ordinary pronuncia- 
tion of Mary = by our lady. 41. Indirectly. He means 

directly or straight. 42. Sonties, corrupted from saints 

or sanctities. CI. P. S. 46. Raise the waters, raise a 

storm or commotion. 51. 'A, for he. (See Abbott, sect. 

402.) 54. Ergo, Lat. therefore. Launcelot has picked 

up a few Latin words, probably from attending his master 

at the court during lawsuits. 56. An't = an it, that is, 

if it. 58. Father, the ordinary mode of address from a 

young man to an elder, and not intended by Launcelot to 

enable his father to recognize him. 66. Hovel-post, a 

post to support a hovel or shed. Co. S. 

80. Stand up. Launcelot had been kneeling ; and, ac- 
cording to the tradition of the stage from Shakespeare's 
own time, had presented the back of his head with its long 
hair to his father, who mistook it for a beard, while Launce- 
lot has none. 94. Fill-horse, for thill-horse = shaft- 
horse. F and th are frequently interchanged both by 
individuals and by nations. Thus the Russians write Feo- 

dore for Theodore, etc. 103. Set up my rest, a technical 

expression taken from an old game at cards = I am satis- 
fied with my hand, I have made up my mind. See Romeo 

and Juliet (IV. v.), and^'s Well (II. i.). 106. Finger 

■with my ribs = use my ribs for counting my fingers. 

116. Anon = an one = at once. An is an old form of on. 

120. Gramercy, corrupted from Fr. grand merci, much 

thanks. 124. Infection for affection or desire. 130. 

Cater-cousins. This word occurs only here in Shakespeare, 
and there is nothing but conjecture as to the derivation. 
It may mean ' allied not only by blood, but by accidentally 
meeting at the same table, when they are "catered for" 
together.' 133. Frutify, for certify. 136. Imperti- 
nent, for pertinent = relating to. 142. Defect, for effect. 

143. Preferr'd, recommended for preferment. 



188 NOTES [Act II 

154. Guarded, braided or trimmed. 157. Table, the palm 

•of the hand. The science of chiromancy (divining by the 
hand) was practised in Shakespeare's time, and is now by 
gypsies. 

168. Bestow'd, arranged ; also used by Shakespeare in 

its oldest sense of stow away. 175. Suit, a request to 

make. 182. Liberal, free, even to taking 'liberties.' 

Shakespeare has also such phrases as a 'liberal villain.' 

Pain. Shakespeare has both pain and pains. 184. Skip- 
ping", thoughtless. Cf. Macbeth, I. ii. 30: ' Compelled these 
skipping kerns to trust their heels.' Shakespeare uses skip- 
per for a flighty person {Taming of the Shrew, II.). 187. 

Habit, demeanor. 188. With respect, thoughtfully, 

and to the pdint. 189. Demurely, from O. Fr. de 

(bonnes) murs (moeurs). 

192. Civility, used in the objective sense for refinement. 
193. Sad ostent, grave demeanor. 

Scene 3 

"As Homer makes us understand the greatness of Helen's 
"beauty by showing its effect on the elders of Troy, so Shake- 
speare exhibits the charm of Jessica in the words and tears 
of the clown." 

10. Exhibit. Launcelot meant inhibit (stop). 14. Hei- 
nous, from Fr. haine {hatred). Shakespeare even uses it of 
animals — ' that heinous tiger ' {Titus Adronicus, V. iii.). 

Scene 4 

" The plan of the masque, including Jessica's elopement, 
3s herein further discussed." 

2. Disguise us. Such reflexive verbs are not unusual in 
Shakespeare. He has ' repent me,' ' repose you,' ' retire 
himself,' ' fear me,' and even ' appear itself,' where appear 
is transitive. 5. Spoke us of = bespoke. 



Scene 5] NOTES 189 

6. Quaintly, fully, thoroughly well, and elegantly, from 
Lat. comptus. 10. Break up = op = open. 11. Sig- 
nify, tell you. 23. Provided of. Shakespeare has also 

' supplied of,' 'satisfied of,' 'mixed of,' and 'puffed of,' etc. 

37. Faithless, who does not hold the (Christian) faith. 

39. Shall be = is to be. 

Scene 5 

" This scene is taken up with the escape of Jessica. Shy- 
lock goes to feast with Bassanio, and tells Jessica to keep 
the house fast shut. Launcelot delivers a message of con- 
trary effect from Lorenzo, and as elsewhere, Jessica obeys 
her love at her father's expense." 

3. What! An interjection used in calling a person. 

11. Bid forth, asked out. — -17. A-brewing, a is the 
broken-down form of the preposition an, now on. Brewing 
is the verbal noun, which formerly ended in wig. 20. Re- 
proach, for approach. 25. Black Monday was Easter 

Monday, April 14, 1360, when Edward III. was lying with his 
army before Paris, and when ' a storm so bitter cold ' broke 
on them that many men died on horseback. The tradition 
remained ; as the tradition of Black Friday in 1866, when 
Gurneys' Bank broke, and there was a money panic in the 
city of London, still remains. 

30. Wry-neck'd, wry, from O.E. writhan, to twist. Cogs. : 
Writhe, toreathe, wriggle ; awry. It was the player who was 

wry-necked, because he has to turn his neck round. 33. 

Varnish'd faces. The maskers painted their faces by way 

of disguise. CI. P. S. 42. "Worth a Jewess' eye, or a 

Jew's eye, was proverbial, and dates from the times when 
teeth or eyes were extracted, ears sliced, and other tortures 

practised on Jews to make them pay large ransoms. 43. 

Hagar's offspring, the Gentiles. 45. Patch. The pro- 
fessional jester wore a patched or motley coat, as the harle- 
quin still does. Patch was a common nickname for a fool. 



190 NOTES [Act II 

— — 54. Stale (from stall) , what has long been exposed on a 
stall. The French seem to have borrowed the word, and they 
said estaler, now e'taler, to display. 

57. Pent-house, from the Fr. appentls (a lean-to), from 
Lat. ad, to, and pendere, to hang. Appendix is the same 
word in another form. "When a word is transferred bodily 
to another language, the tendency is for it to take the form 
of some other word in the language. Thus buffetier becomes 
beefeater ; Bocage-ivalk, Bird-cage-walk ; Chateau vert, Shot- 
over ; Whittling ton and his acate (purchasing), Whittington 
and his cat ; quelque choses, kickshaws ; etiquette, the ticket ; 

and others. 61. Venus' pigeons. Venus was said to be 

drawn in a chariot by doves. 63. Obliged, bound by con- 
tract, under obligation. 65. Sits down, supply with. 

See IV. i. 385 of this play. 

66. Untread, tread in the opposite direction, retrace. 

70. Younker. Shakespeare only once employs the word 

youngster. 71. Scarfed, decked with streamers, long 

pennants, and flags. 74. Over-weather'd, weather- 
beaten to excess. 

77. Abode, delay, tarrying. 86. "Who, for whom. 

Dr. Abbott (sect. 274) gives several similar instances. 

91. Exchange, of my ordinary dress for that of a page. 

98. Of this repetition of the too there are six examples 

in Shakespeare. The best known one is in Hamlet (I. ii. 

129): 'O that this too too solid flesh would melt!' 

Light is here used in a double sense. 101. Garnish, 

dress. From Fr. garner (to furnish), which is really the 
French form of the English (Teutonic) warn. 103. Close, 

secret. 107. By my hood. Dr. Schmidt, the author of 

the Shakespeare Lexicon, thinks it means by my mask. 

108. Beshrew me = indeed. Shrew is connected with 
shreiod. ' Beshrew me ' (a mild form of asseveration) is fre- 
quently in Shakespeare followed by but. 123. On't = of 

it, a phrase still used in the north of England. 



Scene 6] NOTES 191 

Scene 6 

" In this scene the Prince of Morocco makes his choice 
among the caskets. We learn the mottoes on the caskets, 
and see the Prince led away hy pride to choose the golden 
exterior and 'what many men desire.' These preliminary 
scenes serve chiefly to work up our interest for the final test 
of Bassanio." 

1. Discover = uncover or disclose. 4. "Who, for 

ivhich. 8. As blunt, and plain as the metal itself. 

12. Withal = together with it. 20. Shows, appear- 
ances. 26. Rated by thy estimation, valued according 

to thy reputation. 30. Disabling 1 . See note on I. i. 119. 

40. This saint, who is still alive; who, though canon- 
ized, still breathes. 41. Hyrcanian. Hyrcania was the 

ancient name of the region south of the Caspian. Vasty, 

a favorite epithet of Shakespeare's. Cf. Henry IV., Part 
III. (III. i.) : 'I can call spirits from the vasty deep.' He 
also uses the odd noun vastidity ( = immensity) in Measure 
for Measure (III. i.) ; ' Though all this world's vastidity you 
had.' 

42. Throughfares. The root of though and thorough 
(they are the same word) is thor (the same word as our door 
and the German Thor). Cogs.: Trite; thrill, drill, trill; 

and thurrock (the hold of a ship). 43. Come view. 

Cf. the American (which is an old English) idiom, ' help him 
build a house.' This usage is found with many Eng. verbs, 

as bid*, dare, need, make, see, etc. 50. Rib, enclose. 

51. Cerecloth. From Lat. cera, wax. It was a kind of cloth 
dipped in wax, and used to wrap the bodies of the dead in. 

53. Ten times. This was the relative value of gold 

and silver in Shakespeare's time. 

51. Insculped upon. The figure of the angel was in 
relief. The angel was St. Michael piercing the dragon ; and 
the value of the coin was ten shillings. 59. Key, pro- 



192 . NOTES [Act II 

nounced in Shakespeare's time, as now in Ireland, kay. 

63. Carrion death, a skull from which the flesh had rotted 

off. CI. P. S. 78. Part, for depart. So Shakespeare 

has (IV. i. 180 of this play) strained for restrained; cause 
for because ; longing for belonging ; and stroyed for de- 
stroyed.- 80. Complexion, probably here character, as 

in III. i. 26 of this play. 

Scene 7 

" This scene shows us the various characters in side lights. 
Shylock is spoken of with the greatest contempt, and de- 
scribed wavering between his daughter and his ducats. 
Antonio, on the other hand, is most highly praised. We re- 
ceive a first intimation of the coming ruin of the merchant." 

4. Villain, not in the modern sense, but simply as a 
vague expression of contempt = ' low fellow.' — Raised, 

roused. 10. Certified, informed. From Lat. certiorem 

facere, to inform. 25. Keep his day, for payment. 

27. Reason'd, conversed. See note on I. ii. 21, and Luke 
v. 18 : ' Why reason ye thus with yourselves ? ' 

30. Fraught, freighted. 33. You were best = it 

were best for you. The inflection for the dative was the 
same in our pronouns as that for the accusative. But the 
accusative (objective) of an active verb can be changed into 
the nominative of a passive verb ; and the same thing was 
done with the dative. Thus in • He bought me a house,' me 
is a dative ; but, in turning it, people will say either : ' A 
house was bought me,' or — most illogically — ' I was bought 
a house ; ' ' I was given a place ; ' ' I was offered a chair.' 
Hence such absurdities as ' I was shewn over the house.' 

39. Slubber = slur. Cogs.: Slip; slop; sloppy. 

42. Mind of love = loving mind. A common idiom in 
Shakespeare. Thus we have ' a waste of shame ; ' ' a god of 



Scene 8] NOTES 193 

power ; ' ' men of sin ; ' ' a gentleman of blood ; ' ' pageants 
of delight ; ' ' a dance of custom ; ' ' apes of idleness ; ' ' a tale 
of length ; ' ' a boy of tears ; ' and many others. Cf . Keats's 
phrase, 'a thing of beauty.' 43. Employ to, Shake- 
speare in other passages always uses in. 48. Affection, 

emotion. Sensible, full of feeling. 52. Quicken, en- 
liven. Embraced, which he clings to, or embraces. 

Scene 8 

" In this scene the Prince of Arragon tries his fortune with 
the caskets, but meets with no better success than his 
predecessor. At the end we are prepared for the entrance 
of Bassanio." 

1. Straight, straightway, at once. 3. Election, 

choice. From Lat. eligo, I choose. 13. Marriage, three 

syllables, with the accent on age and the French pronuncia- 
tion. 18. So have I address'd me == for this I have 

prepared myself . 24. That ' many ' . . . This sentence 

would in modern English stand the other way : ' The fool 
multitude may,' etc. 26. Fond, foolish. 

27. The martlet, a kind of swallow. In Macbeth (I. vi. 

4) it is called 'The temple-haunting martlet.' 28. In 

the weather, among storm and rain. Cf. the modern 
phrase, ' to weather the storm ; ' and a modern American 
author says of England : ' This country has no climate, but 

plenty of weather.' 29. In the force, exposed to the 

attack. 31. Jump with, agree with. 37. Cozen, 

cheat. A verb evolved out of cousin. — Skeat. 

41. Derived, from rivus, a stream. Cog. : Derivation. 

Clear. Shakespeare has ' a clear life ; ' ' clear in his 

great office' {Macbeth, I. vii. 18); 'a clear countenance,' 

etc. 42. Purchased, acquired. In Chaucer, purchase. 

means to prosecute, from Fr. ponrchasser, to hunt. 

47. Ruin, refuse. 50. Assume desert = that I am a 



194 NOTES [Act IU 

deserving person. 54. Schedule, a little scroll. Lat. 

schedula, from Gr. schede. 60. Distinct, accented on 

dis. 62. Fire, a dissyllable, as Matthew Arnold and 

other modern poets still make it. 

67. I wis, a blunder for yiois, an O. E. word for indeed 
or certainly (cf. German gewiss). Coleridge and Macaulay 
make the same blunder, in the Ancient Mariner ('a speck, a 
mist, a shape, I wis ') ; and in the ballad of Horatius. There 

never was a verb v)is. 70. Sped, done for, or undone. 

Cf. Romeo and Juliet (III. i.). 

72. By the time, in proportion to the time. Linger, 

from long. Cf. late, loiter. 76. Wroth, misery. 

81. Goes. This looks like the singular ; but it is really the 
northern plural. Of the three chief dialects which were 
dominant in England in the 13th and 14th centuries, the 
North made its plural in es, as ice hopes; the Midland in 
en, wehopen; and the Southern in eth,we hopeth. There 
are in Shakespeare many survivals of the northern plural 

(see Dr. Abbott, sect. 333). 87. Sensible, evident to the 

senses, or substantial. Cf . Macbeth (II. i. 36) : ' Art thou 

not, fatal vision, as sensible to feeling as to sight ? ' 

Regreets, greetings. Cf. King John (III. i.). 

88. Commends, compliments. 89. Yet I have not 

= I have never yet. CI. P. S. 96. High-day. Cf. the 

phrase ' high-days and holidays.' 98. Post, postman. 



ACT THIRD 

Scene 1 

" In the third act the various scattered threads of the drama 
are gathered up and brought together in preparation for the 
crisis of the following act. The first scene confirms the tid- 
ings of Antonio's losses. The conversations between Shy- 



Scene 1] NOTES 195 

lock and the two friends, and between Shylock and Tubal, 
are masterpieces of character drawing, both of the Jew and 
of his somewhat flighty daughter." 

2. It lives there, the rumor is current there. 3. The 

narrow seas, the English Channel. - — 4. The Goodwins, 
the Goodwin Sands, off the Isle of Thanet, in Kent. The 
tradition is that these sands formed part of the estate of the 
great Earl Godwin, father of Harold, and that they were 

swallowed up by the sea in the year 1100. 6. Tall, strong, 

Co. S. Gossip, talker, but originally sib in Gocl = re- 
lated to God. Godfathers and godmothers were the true 

godsibs or gossips. 9. Knapped, snapped. 27. The 

wings she flew withal, the disguise she stole away in. 

42. Match, bargain. 44. Smug, neat, well-dressed, 

and self-contented. Cf . Ger. schmuck. Probable cog. : 
Smock. Shakespeare has the phrase, ' a smug bridegroom.' 

45. Mart, an abridged form of market. Hindered 

me, kept me from gaining half a million ducats. CI. P. S. 

58. Fed, supply is he not? 70. Better, very fre- 
quently used by Shakespeare as a verb. 

76. Matched, found to match them. 82. Frankfort- 

on-the-Main has always been famous for its fairs. 84. 

In that one diamond. 115. One of them. Tubal skil- 
fully intermingles ' good news' with 'bad news,' and thus 
works Shylock's passion of anger and avarice up to its 

highest height. 118. Turquoise, spelt also Turkis and 

Turkois, from the word Turkey. It is a pale blue stone, 
generally set in the ring presented by an accepted lover. 
The permanence of its color was believed to depend on the 
constancy of his affection. 

Scene 2 

. " This scene forms the climax of the great love plot of the 
diama. Bassanio wins and marries Portia, thereby giving 



196 NOTES [Act III 

her a ground for the part she plays in the following act. 
Even before Bassanio makes his choice of the leaden casket, 
Portia admits her desire for his success. After his triumph 
she gives herself and all she has with the sweetest grace and 
dignity imaginable. There is no forcing of inclinations in 
this chance choice, either between Portia and Bassanio, or 
Nerissa and Gratiano. Before the lovers have been together 
long, however, a messenger enters, bringing word from An- 
tonio of the forfeiture of the bond, and of the merchant's 
desire to see Bassanio before his death. Portia despatches 
her lover immediately to bring all possible help to his un- 
fortunate benefactor." 

6. In such a quality, in the way I am doing. 8. Hath 

no tongue, can think, but must not speak. 11. I am 

forsworn = I should then be. Forsworn = perjured. 

The for here has the negative force, not the iutensive force 

it has in fordone and forlorn. 12. So = forsworn. 

So = under these circumstances. 15. O'erlooked. An 

allusion to the evil eye. It here means fascinated. 18. 

Naughty = good for naught, or wicked. 

20. So (the last so) = not yours. 21. Peize. Some 

commentators read piece = piece out. In Richard III. (V. 
iii.) we have: 'Lest leaden slumber peize me down.' But 
peize is from Fr. peser, to weigh down or weight. Portia 
wants to stay the flight of Time, and to hang leaden 

weights upon his wings. 28. Fear the enjoying = 

doubt whether I shall ever enjoy. 34. Love, had you 

said love instead of live, you would have expressed all that 

I have to confess. CI. P. S. 35. Had been the very 

sum, would have been the utmost I had to confess. 

43. A swan-like end. It was a common belief that swans 
uttered beautiful music just before they died ; and Tenny- 
son has based a poem on this tradition. Cf . Othello (V. ii.) : 
* I will play the swan, and die in music' 



Scene 2] NOTES 197 

44. Fading, dying away. 48. Flourish of trumpets 

in the ceremony of a coronation at the moment of placing 

the crown on the head of the king. 53. Presence, noble 

demeanor. "With much more love. Alcides (Hercu- 
les) rescued Hesione, the daughter of Laomedon, king of 
Troy, who had been fastened to a rock on the sea-shore, as 
a sacrifice to the offended Poseidon (Neptune) , not because 
he loved her, but because her father had promised to give 
him the horses which Tros had received from Zeus (Jupiter). 

56. I stand for sacrifice, like Hesione. 57. Darda- 

nian, Trojan. Wives, women. Such was the O. E. 

sense, which gradually turned into = married women, just 

as man meant (and still means in Germany) husband. 

62. Fancy, love. It is used by Shakespeare in this sense 
in twenty passages. The word fancy is a compressed form 

of phantasy. 72. Be least themselves = be least like 

the things themselves. 73. Still, constantly. 75. 

Season' d opposed to tainted. 

78. Approve = prove or support it. From Lat. probus, 
good ; Fr. prouver ; hence approve = to make good. 

80. Simple, unmixed. (From Lat. simplex = semel plica, 
single fold.) 85. Livers white as milk. Cf . Hamlet : — 

' That I am lily-livered, and lack gall 
To make oppression bitter.' 

86. Excrement, from Lat. excrescere, to grow out. The 
term is applied to the beard, which has generally been as- 
sumed to be a sign of physical courage. 

87. Redoubted, feared or formidable. Frequently used 
by Shakespeare before names, as in ' my most redoubted 
lord.' Richard II. (III. iii. 198): 'My most redoubted 

father,' etc. 90. Shakespeare uses light here in two 

senses = not heavy u,nd frivolous. 93. Upon sup- 
posed fairness, placed upon fictitious beauty. Cf. Merry 
Wives of Windsor (IV. iv.) : ' Let the supposed fairies pinch 



198 NOTES [Act III 

him.' 94. The dowry of a second head. Cf. Sonnet 

lxviii. : — 

' Before the golden tresses of the dead, 

The right of sepulchres, were shorn away, 
To live a second life on second head ; 
Ere beauty's dead fleece made another gay.' 

' Golden ' locks were fashionable in Queen Elizabeth's time ; 
and she herself, when between sixty and seventy, wore a 
large mass of false hair of this color. 

98. An Indian beauty. The emphatic and contrasting 
word is Indian, a beauty that is dark and dusky, and 
merely Indian. 

101. Midas was a king of Phrygia, who, in return for a 
kindness to one of the attendants of Dionysos (Bacchus), 
obtained from him the favor that everything he touched 

might turn into gold. 113. Surfeit, from Fr. surf aire, 

to overdo. 114. Counterfeit, portrait. So in Timon of 

Athens (V. i.) : ' Thou drawest a counterfeit best in all 

Athens.' 119. Sunder gives sundry; as sever, several. 

125. Unfurnish'd, not having its other eye, because 

the painter had lost both his own, and could not finish his 

work, after he had painted one. 129. Continent = Lat. 

continens, containing. In Midsummer Night's Dream (II. 
i.) we have: 'They (the rivers) have overborne their con- 
tinents ' (= containing banks) . 

135. Fortune for your bliss, look upon your fortune as 
your greatest happiness. 139. I come by note, in ac- 
cordance with the order written (or noted) in the scroll. 

— — 140. In a prize = in a competition for a prize. 155. 

In your account, estimation. This account is used in the 
subjective sense ; the account in line 156 in the objective 

sense. 156. Living's, estates. Cf. Winter's Tale (IV. 

iii.) : 'Where my land and living lies.' The word is now 
confined to estates which belong to the Church. 

158. To term in gross, to speak generally of. 



Scene 2] NOTES 199 

171. I give them with this ring. So Shylock says 

(III. i. 118) : ' I had it of Leah when I was a bachelor.' 

174. Vantage, vantage-ground. Exclaim on, exclaim 

against. Shakespeare uses on with this verb in seven pas- 
sages, in such phrases as ' exclaims on Death ; ' 'on the 
direful night ; ' etc. 

175. Bereft, past participle of bereave, compound of reave, 
a form of rob. The ordinary function of be is to change an 
intransitive into a transitive verb (as in moan, bemoan) ; 
but it is frequently added to verbs already transitive ; as, 

befit ; bemock ; bestir ; bepraise ; bestain ; etc. 178. Fairly 

spoke, well and clearly spoken. So Shakespeare talks of 
books ' very fairly bound,' meaning elegantly. 

181. Blent, blended. 186. Our time that. The ante- 
cedent is to be taken out of our. Cf. V. i. 198 of this play: 
' If you had known her worthiness that gave the ring ; ' and 
Julius Caesar (I. i. 52) : — 

' And do you now strew flowers in his way 
That comes in triumph over Pompey's blood ? ' 

191. None from me, a double use of the word from. 

199. Intermission (five syllables), pause, delay, or 

hesitation. 204. Roof, of my mouth. 

205. Last, hold or continue — another of the weak plays 
upon words which the euphuistic tendency of the Eliza- 
bethan age made common in Shakespeare's time. 208. 

Achieved, gained. 218. Very, true. Cf. Tempest (II. 

ii. 109) : - Thou art very Trinculo indeed.' And Hamlet (II. 
ii. 49) : f I have found the very cause of Hamlet's lunacy.' 
227. Commends him, himself. This is a very com- 
mon usage in Elizabethan, and still more common in Early 
English. Cf . King John (V. vii.) : — 

' My heart hath one poor string to stay it by.' 

Ope = open. 

231. Estate, the unabridged form of the word state. Cf. 



200 NOTES [Act III 

Coriolanus (II. i.) : ' It gives me an estate of seven years' 

health.' 238. Shrewd contents, evil news. Cf. As 

You Like It (V. iv.) : • He endured shrewd days and nights.' 
And we find in Shakespeare such phrases as ' a shrewd 
turn,' ' foul shrewd news,' and 'to lift shrewd steel against 
our golden crown.' 

241. The constitution, temper, and habit of mind. 

242. Constant, steady, firm-minded. 

253. Braggart. Ard, hard is a suffix which seems to 
indicate habit of mind. Thus a braggart is one who habitu- 
ally brags. Cf. coward, laggard, sluggard (connected with 

slug, slow, sloth, and slack), etc. 257. Mere, thorough, 

unqualified, absolute. 259. The paper as = the paper 

being as. 261. Issuing-, pouring out. This word in or- 
dinary English is transitive only in one phrase, 'issue a 
paper or proclamation.' 

267. It should appear. We should have expected would. 

271. Confound, ruin. 273. This line means, 'He 

accuses the state of not giving equal rights and equal free- 
dom to all.' 275. Magniflco was a title given to the 

nobility of Venice. See also Othello (I. ii). 

276. Greatest port, highest rank. The meaning here 

may be contrasted with that in I. i. 124 of this play. 

Persuaded with, advised and pleaded with. 277. En- 
vious, malicious. 

284. Deny, forbid. 288. The best condition'd and 

unwearied, that is, most unwearied, the superlative being 

supplied out of best. 294. Deface, cancel. 297. 

Through ought to be thorough, to make the line. 303. 

Along = with you. A usage of the word still existing in 
America. 

307. Cheer, countenance. So we have in the New Testa- 
ment : ' Be of good cheer ! ' And in Shakespeare : — 

' Whereat she smiled with so sweet a cheer.' 



Scene 3] NOTES 201 

314. You and I. Shakespeare seems to consider the 
phrase You-and-I as incapable of inflection. 

Scene 3 
"The ruin of Antonio is accomplished, and he is in the 
hands of the gaoler. Shylock is impenetrable to all entreat- 
ies of Salarino or Antonio, answering : — 

"Thou cali'dst me dog before thou hadst a cause : 
But, since I am a dog, beware my fangs." 

His speeches ring with long-pent hatred." 

1. Debtors in prison seem to have been allowed to go 
out, accompanied by an officer, for the purpose of making 
arrangements with their creditors. This was also the case 

in London down to 1800. 7. Fangs, from O. E.fangan, 

to seize. Hence also, finger, new-fangled. 9. Naughty, 

unjust and wicked. 19. Kept, dwelt. Keep is fre- 
quently used in its intransitive sense by Shakespeare. 
Thus we find : ' Where earth-delving conies keep ; ' 'A 
Spaniard that keeps here in court ; ' ' Knock at his study, 

where, they say, he keeps.' 20. Bootless, useless. 

Boot, from the O. E. betan, to make bet or good. Cogs.: 
Booty ; to boot (= ' to the good '). 

23. Made moan, complained. 

25. Grant, allow. Cf . Cymbeline (II. i.) : 'A fool 

granted' (= allowed or licensed). 27. Commodity, 

facilities of trading. 31. Consisteth, for consist; but 

trpde-and-profit may be looked upon as a compound noun, 
equivalent to commerce. 32. 'Bated, reduced, weakened. 

Scene 4 
" In this scene we see Portia preparing to follow her hus- 
band to Venice, accompanied by her maid, Nerissa. The 
scene shows us the intellectual firmness of Portia. At a time 
when few persons would be calm, she directs her household 
perfectly, clearly, and without a moment's hesitation." 



202 NOTES [Act III 

2. Conceit, idea. 

7. Lover, friend. This meaning is common in Shake- 
speare. Cf. Julius Csesar (III. ii. 13), where Brutus he- 
gins his speech : ' Romans, countrymen, and lovers ! ' 

9. Enforce you, can make you feel. 10. Repent for. 

Shakespeare has repent of, for, and over, and also without a 

preposition. 12. Waste, spend. Cf . Midsummer Night's 

Dream (II. i.) : — 

' A merrier hour was never wasted there,' 

And Julius Csesar (II. i. 59) : — 

'March is wasted fourteen days.' 

14. Needs, an old genitive = of necessity. Similar geni- 
tives, now used as adverbs, exist in else (= elles), length- 
ways, Mondays (= of a Monday); and hence (hennes), whence 
(whennes) . 15. Lineaments, features. 25. Hus- 
bandry, care. Manage, management. The word man- 
agement does not occur in Shakespeare at all. 33. 

Imposition, the task I impose on you. 35. Lays, for 

lay. This is very common with Shakespeare. 

49. Padua, a university famous in the Middle Ages as a 

great law school. 52. Imagined speed, with the speed 

of thought. 58. Tranect. The word is probably traject, 

from Italian traghetto, a ferry. Ferry = ferry-boat. 

56. Convenient, suitable. 59. Think of us, think of 

seeing us. Co. S. 

67. Reed voice, the shrill voice that comes between 
boyhood and manhood. 68. Frays, battles. 

69. Quaint, finely turned, elaborate. 72. I could not 

do withal = I did not care for them ; I could not do with 
them ; they were not the sort I liked. I could not help it. 
CI. P. S. 77. Jacks, a term of contempt. Cf. Cheap- 
Jack for hawker. Raw = unripe, youthful. Co. S. 

79. All my whole. A phrase found eight times in Shake- 



Scene 5] NOTES 203 

speare. See Henry VI. , Part I. (I. i.) : ' All the whole 
army stood agazed on him.' 

Scene 5 

" In this scene we have more playfulness between Jessica, 
Launcelot, and Lorenzo, and get a little further insight into 
the characters of the actors in this secondary love plot. The 
scene ends with Jessica's famous eulogy on Portia/' 

3. I fear you = fear for you. Shakespeare makes fear, 
in the sense of to be anxious about, take a direct object. 
See III. ii. 28 of this play. 4. Agitation, another blun- 
der of Launcelot's for cogitation, idea of. 14. Scylla. 

In the Straits of Messina there was, according to the old 
Greek tradition, a dangerous rock called Scylla on the 
Italian coast ; and on the opposite coast of Sicily there was 
a whirlpool called Charybdis. In certain states of the wind, 
the sailor who kept away from the one fell into the other ; 
and hence the Latin line : ' Incidit in Scyllam qui vult vitare 
Charybdim.' (He falls into Scylla who desires to avoid 
Charybdis.) 

30. Are out, have fallen out, or quarrelled. Cf . Julius 

Csesar (I. i. 17) : ' Be not out with me.' 46. Quarrelling 

with occasion, quibbling on every opportunity. 55. 

Discretion, the power of separating this from that. From 

Lat. discerno, I divide (mental things). 58. A many. 

Shakespeare uses both the and a with many. Cf. Corio- 
lanus (III. i.) : — 

' The mutable, rank-scented many, 
Let them regard me as I do not flatter.' 

And King John (IV. ii.) : ' Told of a many thousand war- 
like French.' And we also find a many followed by of, as 
l A many of your horsemen' {Henry V., IV. vii.). Dr. Ab- 
bott, sect. 87, says: 'A was frequently inserted before a 
numeral adjective, for the purpose of indicating that the 



204 NOTES [Act IV 

objects enumerated are regarded collectively as one.' And 
lie quotes, ' this three mile ; ' 'an eight days after these 
sayings' (Luke ix. 28). 59. Garnish'd like him, fur- 
nished with words and ideas like his. 60. Defy the 

matter, set the meaning at defiance. Co. S. 67. Mean 

it, be thoroughly in earnest about living an upright life. 

72. Pawn'd, staked, to make up the difference. 

74. Of me, in me. 77. Stomach, inclination. 

80. I'll set you forth, describe or praise you fully. 

ACT FOURTH 

Scene 1 

" This is the famous trial scene. It is laid in the court- 
room before the Duke and Magnificoes of Venice. At first 
we have appeals to Shylock's mercy from the Duke, from 
Bassanio, and from Antonio's other friends, but all in vain. 
Shylock is without softness. Portia now enters, dressed as 
a doctor of laws sent by the learned Bellario. She hears the 
case reviewed, and says : ' Then must the Jew be merciful.' 
'On what compulsion must I?' answers Shylock. Now 
follows Portia's famous speech on mercy. Shylock not only 
will listen to no exhortations, but will not accept ten times 
the amount of his bond in payment. Portia says that the 
court awards Shylock his pound of flesh, and he prepares to 
cut it. Before he has touched Antonio, she tells him that 
the bond gives him 'no jot of blood,' and if Antonio lose 
any, all the Jew's goods are confiscated. Shylock offers to 
take thrice the money, and then the principal only. But 
Portia says ' No ' ; he shall have only his bond. Shylock 
will 'stay »o longer question.' But the righteous judge 
will not let him escape until he promises to hold half his 
goods for Lorenzo and Jessica, and to become a Christian. 
The Jew consents and goes staggering from the room. Both 
the Duke and Bassanio now wish to entertain Portia, and 



Scene 1] NOTES 205 

the latter begs her to accept the three thousand ducats, but 
she will bave naught but the gloves of Antonio and the ring 
of Bassanio. This Bassanio feels that he cannot grant, for 
the ring is his wife's present, but finally, at Antonio's solici- 
tation, sends Gratiano with the ring after Portia." 

Hazlitt speaks of this scene as follows : 

" The whole of the trial scene, both before and after the 
entrance of Portia, is a masterpiece of dramatic skill. The 
legal acuteness, the passionate declamations, the sound 
maxims of jurisprudence, the wit and irony interspersed in 
it, the fluctuations of hope and fear in the different persons, 
and the completeness and suddenness of the catastrophe, 
cannot be surpassed." 

5. Uncapable. Un is the English, in the Latin, negative 
prefix. But Shakespeare has unfirm ; impossible ; uncu- 
rable ; unvincible, etc. ; and, on the other hand, he writes 
incharitable ; infortunate ; incivil; and ingrateful (all of 
which, by the way, are right). The modern use is itself 
variable, for we say ungrateful and ingratitude ; unequal 
and inequality. b\ Empty from. This is the only in- 
stance in Shakespeare where empty is followed by from. 

7. Qualify, modify, moderate. 

8. Obdurate, with the accent on dur. 9. That, a rep- 
resentative particle for since. The French use que in the 
same way; instead of repeating si, quand, or some such 
conjunction, they insert que. 

13. Very would seem here to carry the meaning of ut- 
most. Dr. Schmidt says that very is ' generally placed before 
substantives to indicate that they must be understood in 
their full and unrestricted sense.' 

20. Remorse, pity or relenting. This is much the more 
usual meaning in Shakespeare. Cf. King John (IV. iii.) : 
' The tears of soft remorse.' 22. Where, whereas. Co. S. 

24. Loose, give up or release (which is a cognate of loose, 



206 NOTES [Act IV 

though it is not derived from it, but from Lat. relaxare, 

through the Fr. relaisser) . 26. Moiety, a portion. Low 

Lat. medietas, Fr. moitie. In nine passages Shakespeare 
uses it in the strict sense of one-half ; and in seven passages 
he employs it in the sense of a portion. 

39. Charter. Venice was an independent republic, with 
a Duke (Doge) at its head ; but perhaps Shakespeare 
thought that it, like some of the minor Italian and German 
states, held a charter from the Emperor of Germany. 
43. Say = let us say or suppose. 

46. Baned, poisoned. O. E. bana, destruction. We have 

the words henbane and rat's-bane. 47. A gaping- pig 1 , 

a pig's head on the table, with a lemon in its mouth. 

52. Firm, sound, well-founded. 59. Lodged, settled. 

Of. Borneo and Juliet (II. iii.) : ' Where cares lodge, sleep 

will never lie.' 61. A losing 1 suit, a suit in which I can 

gain nothing. 

63. Current, course. 66. Hates ... kill. Aristotle's 

definition of hatred is ' a desire for the non-existence of 

something which exists.' 67. Offence = offence taken. 

69. Question, discuss. 

71. Main flood, the flowing (= flood) of the main sea. 

72. Question. Here the word is used as a noun. See 

below, line 168. 76. Fretten. The original meaning of 

fret in O. E. is to eat (German fressen). So Shakespeare 
has: 'Rust the hidden treasure frets.' And we have in 
Scripture the phrase, ' a moth fretting a garment.' 

82. Judgment, sentence passed. 91. Parts, offices, 

functions. Shakespeare, as an actor himself, very fre- 
quently uses parts in this sense. 103. Upon my power = 

upon my own authority. 105. Determine, decide upon. 

113. Tainted, diseased. 

120. Whet, O. E. hwettan, to sharpen. 126. Wit, 

sense. 130. Pythagoras, a Greek philosopher who is 

said to have first promulgated the doctrine of the transmi- 



Scene 1] NOTES 207 

gration of souls. 133. Who, hanged. Another instance 

of the nominativus pendens. 

133. Govern'd, inhabited. Co. S. 

134. Fleet = flit. 

136. Infused in. But in line 132, Shakespeare uses into. 
The fact is that the O. E. in, like the Latin, meant both in 
and into ; and in Lancashire it is still employed with the 

latter sense. 139. Offend'st, givest annoyance to, or 

hurtest. 

141. Cureless, a hybrid — as cure is Latin (cura, care) and 
less is an English suffix. Cureless = past cure. 147. Con- 
duct, escort or guidance. Cf. Henry V. (I. ii.) : ' Convey 

him with safe conduct.' 150. Sick, ill. The word sick 

is still used in America in this older and quite general 
sense. 158. Fill up, fulfil. 

160. Reverend estimation = reverence and esteem. No 
impediment to let him lack, no hindrance to his receiv- 
ing. CI. P. S. 168. Holds this question = keeps this 

discussion before. 169. Throughly = thoroughly. Both 

forms were used indifferently in Shakespeare's time. We 
still have the adjective thorough and the word thoroughfare ; 

but Shakespeare has through-fare. 176. Danger comes 

from a Low Latin word domigerium or dangerium, the power 

of inflicting damnum (loss or fine). 179. Must. Portia 

had used the word in its ordinary loose meaning, as equal 
to ' the only thing that will meet the case is for him to be 
merciful ; ' but Shylock takes it up in its most literal, 
hardest, and most absolute sense; and out of this twist 
in interpretation naturally rises the beautiful speech of 
Portia — one of the finest specimens of sweet, flowing, and 

rhythmic eloquence in all literature. 180. Strain'd, 

constrained or restrained. 

182. Twice bless'd, pouring forth a double blessing. 

188. Fear of, with an objective meaning. 

210. Truth, honesty. The word truth is not confined by 



208 NOTES [Act IV 

Shakespeare to an attribute of a statement; he applies it 
largely to persons. Cf . Henry VI., Part II. (III. i.) : — 

' In thy face I see 
The map of honor, truth, and loyalty.' 

213. Curb ... of . Shakespeare has only twice used this 
idiom. The other passage is in Henry IV., Part I. (III. i.) : 

'He curbs himself even of his natural scope 
When you come cross his humor.' 

244. Hath full relation, is in every respect applicable. 
247. More elder. Shakespeare has both double com- 
paratives and double superlatives. He has more better, 
more braver ; most worst, most unkindest, etc. 

253. On your charge, at your own expense. 

264. Use, custom. Cf . Hamlet (III. iv. 168) : — 

' Use almost can change the stamp of nature.' 

271. Speak me fair = speak well of me. Cf . Twelfth 
Night (V.) : ' I bespake you fair.' And Shakespeare also 
turns fair into a verb, in Sonnet cxxvii. 6: — 

''Fairing the foul with art's false borrowed face.* 

273. A love = lover = dear friend. See note on III. 

iv. 7. 274. Repent, regret. CI. P. S. 277. With all 

my heart. It lies in the English character to make these 
humorous remarks in the presence of death. Cf. the say- 
ings of Sir T. More at his execution. So, when Thomas 
Hood was dying of consumption and reduced almost to 
skin and bone, a mustard poultice was put upon his feet, 
and he was heard to whisper : ' There's very little meat for 

the mustard.' 323. Just = exact. 

324. In the substance = in the gross weight. 327. Es- 
timation = estimated weight. 345. Alien, a foreigner. 

From Lat. alienus, foreign ; from alias, another. 



Scene 1] NOTES 209 

348. Contrive, plot. 350. Coffer, from the Greek 

kophinos, a basket, which gives two forms of the word, 

coffin and coffer. 358. Formerly, a word used in legal 

documents for as aforesaid. 370. That = my life. 

374. Render, give, as in line 197. 377. The fine for 

one half = the fine which is to be placed upon the half of 

his property. 379. In use, to employ it in my business, 

but as trust money. 387. Recant, revoke. Used also by 

Shakespeare in the sense of recall. 

395. Ten more, to make up twelve jurymen, who, as Ben 
Jonson informs us, were, in the time of Queen Elizabeth, 

jestingly called ' godfathers-in-law.' 401. Serves you 

not = is not at your own disposal. 402. Gratify, reward 

or recompense. 

408. Cope, requite or pay for. From O. E. ceapian, to 
buy. Cogs.: Cheap, a market; as in London, Cheapside 
(into which run Milk Street, and opposite, Bread Street, 
where John Milton was born) ; chop (to exchange) ; chaffer 
(to bargain for) ; chapman (a merchant) ; horse-coper (a 
horse-dealer) ; Chipping, (having a market, as in Chipping 
Ongar and Chipping Norton) ; Kippen (the northern or 
Scotch form of chipping) ; hoping (the Danish form used 
as a suffix to numerous towns); Kiob'nhav'n (= Copen- 
hagen, the Merchants' Haven). The word is more generally 
used by Shakespeare in the sense of encounter (either in 

a friendly or in a hostile way) . "Withal = w r ith. But 

withal is always placed at the end of the sentence. 417. Of 

force = inevitably. Attempt = press upon. Cf. Win- 
ter's Tale (IV. ii.) : ' He will never attempt us again.' 

441. An. An if is a pleonasm, like or ere (or and ere be- 
ing two forms of the same word) . The meaning and force 
of an were probably weakened and partially forgotten, andi 
so if was added. 



210 NOTES [Act V 

Scene 2 

" This scene forms a connecting link between the storm of 
the fourth and the calm of the fifth acts. Gratiano delivers 
the ring to Portia, and while Nerissa is showing him the way 
to Shy lock's dwelling he loses his own ring as well." 

6. Advice, thought or deliberation. See I. i. 138. 

15. Old swearing 1 , plentiful or hard. Cf. Merry Wives of 
Windsor (I. iv.) : ' Here will be an old abusing of God's pa- 
tience and the king's English.' 'Old,' from meaning what 
one has known of old, has come to mean that which is most 
remarkable or extreme in one's experience ; as an old-fash- 
ioned winter is one that comes up to one's strongest idea 
of a severe winter. 

ACT FIFTH 

" This act adds a beautiful finishing touch to the drama. 
IVe have first an exquisite moonlight scene between Lorenzo 
and Jessica. Portia and Nerissa enter rapidly, and are 
quickly followed by Antonio, Bassanio, and Gratiano. After 
the first greetings are over, a playful quarrel breaks out 
between the lovers about the rings, which continues until 
Portia, seeing the pain she and Nerissa are causing their 
husbands, tells Bassanio the truth. She also has good news 
for Antonio and for Lorenzo, so the whole play ends in hap- 
piness. The last act is filled with most exquisite poetry, 
hardly to be surpassed." 

Notice the intense quietness and social calm of this last 
act and scene — which Shakespeare introduces as a contrast 

to the terrible anxiety and tragedy of the trial. 

4. Troilus, the son of Priam and Hecuba, fell in love with 
Cressid (or Cressida), a Greek. The story was a well- 
known one in Shakespeare's time. A stock-play, called 
Troilus and Cressid, which Shakespeare took as the basis 
of his own, was well known upon the English stage; and 



Act Y] NOTES 211 

Chaucer Had, in the 14th century, written a long poem on 
the same subject. 

7. Thisbe, a beautiful Babylonian lady, with whom Pyra- 
mus was in love. They agreed to meet at the tomb of 
Ninus ; but, on arriving there, Thisbe was terrified by the 
sight of a lioness that had just killed an ox. She fled and 
left her cloak, which was stained with blood. When Pyra- 
mus reached the place and found the cloak, he thought a 
wild beast had killed her ; and he made away with himself 
— an example which was followed by Thisbe. 

10. Dido. An allusion to the desertion of the Queen of 

Carthage by .Eneas. Willow, the symbol of unhappy 

love. Cf. Henry VI., Part III. (III. iii.) : — 

' I'll wear the willow garland for his sake ; ' 

and the beautiful song of Desdemoua in the third scene of 

the fourth act of Othello. 13. Medea, the daughter of 

iEetes, king of Colchis, and afterward the wife of Jason, 
whom she helped to seize the Golden Fleece, was a great 
enchantress. To renew the youth of iEson, the father of 
Jason, she boiled him in a caldron into which she had 

thrown magic herbs, and thus made him young again. 

23. Out-night you = beat you at this game of ' In such a 
night.' 33. Hermit, always spelt by Spenser and pre- 
vious writers eremite, from Gr. eremos, a desert. 49. Ex- 
pect = await. 59. Patines (from Lat. patina, a plate), 

the name of the small gold or silver plate used for the 
bread in the Eucharist. 
61. 4- n g" el sings. This is an allusion to the Platonic 

doctrine of 'the music of the spheres.' 64. Vesture of 

decay = this body in which the soul is clothed here. 

66. Diana, as the goddess of the moon. 70. Attentive 

= on the stretch. From Lat. tendo, I stretch. Cogs.: 

Tense, tension; intend; contend, etc. 72. Unhandled 

= not as yet under the hand of the trainer. 77. Mutual. 



F 



212 NOTES [Act V 

This word, which ought to mean reciprocal, has always heen • 
loosely employed in English. A very usual meaning -in v 
Shakespeare is common. And Mr. Dickens uses it in the 
same erroneous, hut very popular, sense in the title of one 
of his novels, Our Mutual Friend. 

80. Orpheus was the son of GEagrus and Calliope. He 
lived in Thrace at the period of the Argonauts, and was the 
musician in the Argo. 

81. Stockish = insensible. Cf . the phrase ' stocks and 

stones.' 83. The man. Cf. Julius Csesar (I. ii. 204), 

where Csesar talks of ' that spare Cassius : ' — 

' He loves no plays, 
As thou dost, Antony ; he hears no music.' 

85. Spoils = acts of spoliation. 87. Erebus. From 

Gr. Erebos, darkness — the brother of Night, and name for <£. 
the gloomy space under the earth, through which the spirits 
pass into Hades. 

99. Without respect = except relatively. 103. At- 
tended = attended to. 109. Endymion. The love of 

Selene (the moon) for the beautiful youth Endymion has 
been the subject of many a poem — among others, one by 

John Keats. 121. Tucket, a set of notes on a trumpet 

to announce an arrival. 132. God sort = dispose or 

arrange. Still used in this sense in Scotland. 

136. In all sense = in all reason. So also in no sense. 
See Taming of the Shrew (V. ii.) : ' And in no sense is meet 

or amiable.' 141. Breathing" courtesy = courtesy of 

mere breath or words. • 

146. Posy, motto. Contracted from poesy ; but, according 
to some, corrupted from Fr. pensee, a thought. 154. Re- 
spective, had respect for your oath. 160. Scrubbed, f \ 

paltry, or, it may be stunted, like scrub or underwood. C-" 

172. Masters = is master of. 

174. Mad = very angry. Still used in this the O. E. [ 



Act V] NOTES 213 

sense in the United States. 175. I were best. See note 

on II. vii. 33. 199. Contain = retain. Cf . Sonnet lxxvii. 

9 : ' What thy memory cannot contain.' 201. Much un- 
reasonable. So Shakespeare has much forgetful, much 
guilty, much sea-sick, much sorry, etc. We still say not 
much unlike ; hut we cannot say much unlike, as Shake- 
speare does. 203. "Wanted = as to have wanted, and 

dependent on much unreasonable. 204. Held as a 

ceremony = as a sacred thing. Only here used by Shake- 
speare in this sense. 212. Did uphold = saved. 215. 

Shame in the subjective, and courtesy ( = the demands of 
courtesy) in the objective sense. 

232. Enforced = forced upon me. 211. "Wealth = 

well-being, and probably pronounced weelth; but the asso- 
ciation with health has altered the pronunciation along 
with the meaning. Cf . the Prayer-book : ' In all time of 
our wealth ; ' and in the prayer for the Queen : ' Grant her 
in health and wealth ( = in all internal and external cir- 
cumstances of good) long to live.' 245. Advisedly = 

with knowledge or deliberately. 

258. Set forth = set out. 264. Suddenly = unex- 
pectedly. 268. Living" = the means of living. 278. Sat- 
isfied ... at full = fully informed of the course of these 
events. 

280-81. Charge us . . . upon inter'gatories and an- 
swer all things faithfully, are legal phrases taken from 

the practice of the Court of Queen's Bench. 282. Fear = 

be anxious about. 



EXAMINATION PAPERS 

(See Plan for Perfect Possession, p. 12) 
A 

1. Write a short view of the character of Shylock, 
and give passages to illustrate (a) his hatred, (6) his ava- 
rice, and (c) the mixed motives which impel him to bring 
about the ruin of Antonio. 

2. What is the function of Gratiano in the play ? 

3. State by whom, of whom, and on what occasions, 
the following lines were uttered : — 

(a) They lose it that do buy it with much care. 
(&) And many Jasons come in quest of her. 

(c) For sufferance is the badge of all our tribe. 

(d) And I will go and purse the ducats straight. 

(e) So is Alcides beaten by his page. 
(/) Go to, here's a simple line of life. 

(g) I think he only loves the world for him. 

4. Explain and annotate the following words and 
phrases: Pageants; prevented; play the fool ; wilful 
stillness ; profound conceit ; for this gear ; a more swell- 
ing port ; find the other forth ; commodity ; good sen- 
tences ; a proper man ; sealed under ; stead me. 

214 



EXAMINATION PAPERS 215 

5. Give some examples of compound adjectives in 
Shakespeare. 

6. What promise does Gratiano make to Bassanio 
before going down to Belmont ? 

B 

1. Write a short account of the character of Portia. 

2. Quote and explain as many legal phrases in this 
play as you remember. 

3. Annotate the following lines, , and state by whom 
and when they were uttered : — 

(a) I have no mind of feasting forth to-night. 

(b) A golden mind stoops not to shows of dross. 

(c) I thought upon Antonio when he told me. 

(d) Builds in the weather on the outward wall. 

(e) From whom he bringeth sensible regreets. 
(/) Hate counsels not in such a quality. 

4. Explain and annotate the following words and 
phrases: A fawning publican ; ripe wants; possessed of; 
beholding ; your single bond; the fearful guard; wit; 
sand-blind ; frutify ; preferred ; guarded; civility; spoke 
us of; obliged faith. 

5. Give some examples of (a) verbs and (5) adjectives 
employed by Shakespeare with unusual meanings. 

6. Give some instances of the antecedent to who exist- 
ing in a possessive pronoun. 



216 EXAMINATION PAPERS 



1. Write a short account of the scene of Bassanio 
with the caskets. 

2. Who are Leonardo, Nerissa, Lorenzo, Launcelot, 
and Jessica ; and what part does each play ? 

3. Explain any peculiarities in the following lines, 
and state by whom and when they were spoken : — 

(#) I speak too long ; but 'tis to peize the time. 
(5) The rest aloof are the Dardanian wives. 

(c) Like one of two contending in a prize. 

(d) Engaged my friend to his mere enemy. 

(e) I'll follow him no more with bootless prayers. 
(/) You have a noble and a true conceit 

Of god-like amity. . . . 

4. Continue each of the above quotations. 

5. Explain and annotate the following words and 
phrases : Untread again ; a weak disabling ; suit ; certi- 
fied; you tvere best; affection; derived; it lives un- 
checked; fancy; the gutted shore; continent; shreiod 
contents ; enforce. 

6. Give some instances of Shakespeare's use of the 
dative. 

7. Quote some examples of double comparatives, double 
superlatives, and of double negatives in Shakespeare. 

8. Tell the story of Lorenzo and Jessica. 



EXAMINATION PAPERS 217 



D 

1. "Write a short account of the Trial Scene ; and 
indicate briefly — with quotations where you can — the 
behavior of (a) Antonio, (b) Bassanio, (c) Gratiano, and 
(d) Shylock. 

2. What glimpses of Venice do we receive in the play? 

3. Annotate the following lines, and state by whom 
and on what occasions they were uttered : — 

(a) This comes too near the praising of myself. 
(6) O dear discretion, how his words are suited 1 

(c) Forgive a moiety of the principal. 

(d) When they are f retten with the gusts of heaven. 

(e) Eepair thy wit, good youth, or it will fall 
To cureless ruin. 

(/) There is no power in the tongue of man 
To alter me. 

4. Write down the lines (a) which precede and (6) 
those which follow the above. 

5. Annotate and explain the following words and 
phrases : Imposition ; vrithal ; defy the matter ; set you 
forth; remorse; baned; within his danger; lover; a 
just pound ; cope. 

6. Give some instances of the use of an adjective as 
an adverb. 

7. How does Shakespeare use un and in? 



218 EXAMINATION PAPERS 



E 

1. Write a short account of the Garden Scene and 
the Home-coming of Portia. 

2. Explain the classical allusions in the following 
lines : — 

(a) Troilus, methinks, mounted the Trojan walls. 

(6) Did Thisbe fearfully o'ertrip the dew. 

(c) Stood Dido with a willow in her hand. 

(d) Medea gathered the enchanted herbs. 

3. Quote the passage beginning : — 

"How sweet the moonlight sleeps upon this bank." 

4. What does Shakespeare say about the power of 
music ? 

5. Explain the following words and phrases : Stockish ; 
nothing is good without respect ;, hold day with the An- 
tipodes ; been respective ; break faith advisedly ; fear no 
other thing so sore as keeping safe Nerissa^s ring. 

6. Give some examples of Shakespeare's use of nouns 
as verbs. 

7. Quote some passages in which an if is used. 

8. In what ways does Shakespeare use the preposition 
in? 

9. Give some instances, from this or from other plays, 
of Shakespeare's use of a double negative. 



English Classics, Etc., 

FOB 

Classes in English Literature, Reading, Grammar, etCi 

ffOZTSD BT EMINENT ENGLISH AND AMERICAN SCHOLARS 

Each Volume coTdaias a Sketch of the Authors Life, Prefatory and 
Explanatory ¥oies } e'c, etc. 

These Volumes are thoroughly adapted iui Schools in whfcbErg islj 
literature forms a branch of study, or where a caref ally-3elecced por. 
tion of some English Classic is selected for minute examination, or 
for supplementary reading matter. The notes are unusually full and 
exhaustive, occupying in many volumes nearly half the book. Ety- 
mology is attended to throughout, the derivations of all the more 
difficult words being given. In short, they supply the student with al) 
the information necessary to a perfect understanding and just appre- 
ciation of the text, and incidentally communicate much useful philo- 
logical and general knowledge. 

Byron's Prophecy of Dante. (Cantos I. aad II.) 

Milton's L' Allegro and II Penseroso. 

Lord Bacon's Essays, Civil and Moral. (Selected.) 

Byron's Prisoner of Chillon. 

Moore's Fire- Worshippers. (Lalla Rookh. Selected from Parts L 

and II.) 
Goldsmith's Deserted Tillage. 
Scott's Marmion. (Selections from Canto VI.) 
Scott's Lay of the Last Minstrel. (Introduction and Canto I.) 
Burns' Cotter's Saturday Night, and Other Poems. 
Crabbe's The Village. 

Campbell's 1" leasures of Hope. (Abridgment of Part I.) 
Macaulay's Essay on Bunyan's Pilgrim's Progress. 
Macaulay's Armada and other Poems. 
Shakespeare's Merchant of Venice. (Selections from Acts I. VO 

and IV.) 
Goldsmith's Traveller. 
Mogg's Queen's Wake. 
Coleridge's \ocient Mariner. 
Addison's Sir Boger de Coverley. 
Gray's Elegy in a Country Churchyard. 
Scott's Lady of the Lake. (Canto 1.) 
Shakespeare's As Tou Like It, etc. (Selections.) 
Shakespeare's King John and King Blchard II. (Selections.) 
Shakespeare's King Henry IV., King Henry V., King Hen*? 

VI. (Selections.) 
* 24 Shakespeare's Henry VIII., and Julius Caesar. (Selections., 
( CONTINUED.) 



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ENGLISH CLASSICS— Contihued. 

*o. 35 Wordsworth's Excursion. (Book I.) 

" 86 Pope's Essay oo Criticism. 

" 37 Spenser's Faerie Queene. (Cantos 1. and II.) 

** 88 Cowper's Task. (Book 1.) 

M 89 Milton's Comus. 

" 80 Tennyson's Enoch Arden, The Lotus Eaters, Ulysses, anC 

Tithonus. 

*• 81 Irvlng's Sketch Book. (Selections ) 

*• 88 Dickens' Christmas Carol. (Condensed.) 

«• 88 Carlyle's Hero as a Prophet. 

** 84 Macaulay's Warren Hastings. (Condensed.) 

** 85 Goldsmith's Vicar of Wakefield. (Condensed.) 

«* 86 Tennyson's The Two Voices, and A Dream of Fair Wornei 

14 8? Memory Quotations. 

«* 88 Cavalier Poets. 

«* 89 Dryden's Alexander's Feast, and MaeFlecknoe. 

«• 40 Keats' The Eve of St. Agnes. 

•* 41 Irvlng's Legend of Sleepy Hollow. 

•' 43 Lamb's Tales from Shakespeare. 

*• 48 Le Row's How to Teach Reading. 

•« 44 Webster's Bunker Hill Orations. 

*' 45 The Academy Orthoepist. A Manual of Pronunciation. 

** 46 Milton's Lycidas, and Hymn on the Nativity. 

" 4? Bryant's Thanatopsis, and Other Poems. 

** 48 Ruskin's Modern Painters. (Selections.) 

•« 49 The Shakespeare Speaker. 

** 50 Thackeray's Roundabout Papers. 

** 51 Webster's Oration on Adams and Jefferson. 

«■ 58 Brown's Rab and His Friends. 

'* 58 Morris's Life and Death of Jason. 

" 54 Burke's Speeeh on American Taxation. 

" 55 Pope's Rape of the Lock. 

" 56 Tennyson's Elaine. 

** 5? Tennyson's In Memoriam. 

"■* 68 Church's Story of the JEneid. 

** 59 Church's Story of the Iliad. 

80 Swift's Gulliver's Voyage to Lllllput. 

61 Macaulay's Essay on Lord Bacon. (Condensed.) 

68 The Alcestis of Euripides. English Version by Rev. R. Potter, M.A. 

68 The Antigone of Sophocles. English Version by Thomas Franc* 
lin, D.D. 

64 Elizabeth Barrett Browning. (Selected Poema.) 

65 Robert Browning. (Selected Poems.) 

66 Addison's The Spectator. (Selections.) 
«? Scenes from George Eliot's Adam Bede. 
68 Matthew Arnold's Culture and Anarchy., 

Continued on last page. 



*« 



ENGLISH CLASSICS— Continued 

No. 69 DeQulncey's Joan of Arc 

" ?0 Carlyle's Essay on Burns. 

** 71 Byron's Chllde Harold's Pilgrimage. Cantos I. and II.) 

** t'i Poe's Raven, and other Poems. 

'* ?8-?4 Macaulay's Lord CLive. (Double Number.) 

*• ?& Webster's Reply to Hayne. 

" 76-?? Macaulay's Lays of Ancient Rome. (Double Number.) 

" ?8 American Patriotic Selections: Declaration of Independence 
Washington's Farewell Address, Lincoln's Gettysbur 
Speech, etc. " 

" ?9-80 8cott's Lady of the Lake. (Double Number.) 

" 81-82. 8cott's Marmlon. (Double Number.) 

** 88-84 Pope's Essay on Man. (Double Number.) 

*' 85 Shelley's Skylark, Adonais, and other Poems. 

** 86 Dickens' Cricket on the Hearth. (In preparation.) 

" 8? Spencer's Philosophy of Style. 

** 88 Lamb's Essays of Ella. (In preparation.) 

** 89 Cowper's Task. (Book 11.) See No. $&. 
•* 90 Wordsworth's Selected Poems. 
" 91 Tennyson's The Holy Grail, and Sir Galahad. 
" 92 Addison's Cato. 

*' 98 Irving's Westminster Abbey, and Christmas Sketches. 
" 94-95 Macaulay's Earl of Chatham. Second Essay. 
" 96 Early English Ballads. 

«« 97 Skelton, Wyatt, and Surrey. (Selected Poems.) 
" 98 Edwin Arnold. (Selected Poems). 
" 99 Caxton and Daniel. (Selections.) 
•• 100 Fuller and Hooker. (Selections.) 
" 101 Marlowe's The Jew of Malta. 
" 102-108 Macaulay's Essay on Milton. 
** 104-105 Macaulay's Essay on Addison. (In preparation.) 
•* 106 Macaulay's Essay on Boswell's Johnson. 
« 10? Mandeville's Travels and Wycliffe's RtV* flections.? 
** 108-109 Macaulay's Essay on Frederick the Great. (In prep.- 
** 110-111 Milton's Samson Agonistes. 

•* 112-113 114 Franklin's Autobiography. i>„k«,i„„ 

" 115 116 Heredotus' Stories o. Crtesus, Cyrus, and Babylon 
'• 11? Irving'* Alliauibra. 
** IIS Burke's Present Discontents. 
»* ll9 Burke's Conciliation. 
** 180 Macaulay's Byron. 

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Homer's Odyssey. (Books I.. V., IX., and X.) Metrical translation by George 

Howland. With Introduction and Notes. Mailing price, 25 cents. 
Horace's The Art of Poetry. Translated in verse by George Howland 

Mailing price, 25 cents. 
Defoe's Robinson Crusoe. Edited by Peter Parley. With Introduction 

and Notes. 169 pp., 16mo. Linen. Mailing price, 30 cents. 



HISTORICAL CLASSIC READINGS. 

With introductions and Explanatory Notes. 

for Classes in History, Reading, and Literature. 



From 50 to 64 pages each. Price 12 cents per copy ; 
$1.20 per dozen; $9.00 per hundred ; $80.00 per thousand 



The following numbers, uniform in style and size, are now ready: 

1 Discovery of America. Washington Irving. 

2 Settlement of Virginia. Capt. John Smith. 

$ History of Plymouth Plantation. Gov. William BRADFORD. 

4 King Philip'* War, and Witchcraft In New England. Gov. Thomas 

Hutchinson. 

5 Discovery and Exploration of the Mississippi Tnlley. John Gn-toA«y 

Shea. 
% Champlaln and his Associates. Francis Parkman. 

7 Braddock's Defeat. Francis Parkman. 

8 First Battles of the Revolution. Edward Everett. 

9 Colonial Pioneers. James Parton. 

10 Heroes of the Revolution. James Parton. 

Other Numbers in Preparation. 



MAYNARD, MERRILL. & CO.. New York, 



g& 



NOV 20 1899 



LIBRARY OF CONGRESS 





014 105 144 1 



